Musical notation, system, and methods

ABSTRACT

In one aspect, provided herein is a device for notating a musical composition. The device, in various implementations, is structured so as to be less laborious to notate, easier to read, and more simple to employ in notating, reading, and/or playing the music of a given composition to be composed and/or played. Accordingly, in its most basic form, the device herein disclosed includes a template, upon which template one or more symbols may be notated, where such notation is configured in a manner that more closely relates the note to be played with the mechanical action needed to be performed so as to play that note, such as on an instrument to be or being played.

CROSS-REFERENCE TO RELATED APPLICATIONS

This application claims priority to U.S. Provisional Patent ApplicationNo. 62/194,089, filed on Jul. 17, 2015 and entitled “MUSICAL NOTATION,SYSTEM, AND METHODS” and U.S. Provisional Patent Application No.62/276,188, filed on Jan. 7, 2016 and entitled “MUSICAL NOTATION,SYSTEM, AND METHODS,” the disclosures of which are incorporated hereinby reference in their entirety.

FIELD OF THE DISCLOSURE

A new musical notation tablature, new musical instruments, and newdevices and methods for teaching and playing the same in accordance withthe new musical notation are provided. Systems including one or more ofthe new musical notation tablature, instruments, devices, and methodsare also provided.

BACKGROUND TO THE DISCLOSURE

The definition of music is manifold. In one instance, music may bedefined as a compilation of concordant sounds that may be arranged insuch a manner as to produce a harmonic melody to which it is pleasant tolisten. Particularly, the early Pythagoreans discovered that a stringedinstrument could be constructed, whereby if the strings were pluckedwithin a given arrangement a consonant harmony would be produced, whereas if they were plucked in random order, disharmony or a discordantsound would be produced. More particularly, Pythagoras discovered thatif the strings of an instrument were of like composition, size, weight,and length; and if one plucked a first string, a first sound wave,having a vibration of a given frequency would be produced. Further, ifthe length of a second such string is halved and then plucked again, aharmony between the notes sounded by the vibration of the two stringsbeing plucked would be produced, which harmony is generated by thefrequency of the two vibrations being proportional. Throughexperimentation between the ratios of the number of strings on theinstrument, their weights, and their lengths at the time of playing, thePythagorean's found a mathematical relationship between string weight,length, and concordance, called the harmonic ratio, and therebydiscovered the intervals of the octaves.

Specifically, an octave is a repeating scale of eight whole notes havingan interval such that the note with the highest pitch in the octave ofthe scale has a sound wave frequency of vibration that is twice that ofthe note with the lowest pitch in the scale. Accordingly, music is madeup of notes. Notes are sounds of a given pitch that form the octave suchthat when played in succession produce a concordant or harmonic scale.Hence, the pitch of a note demarcates how high or how low the notesounds, and is typically measured by the frequency of the vibrationscaused by the sound waves emitted, e.g., measured in Hertz. Forinstance, a note that is vibrating at 256 Hz will be caused by soundwaves that vibrate at 256 times a second, which for the piano will bethe Middle C note.

There are seven different whole notes to a scale, going from the notewith the lowest sounding pitch to the highest sounding pitch, e.g., inan ascending scale, and on the eighth note the scale repeats. Thus,concordant musical notes in a scale form the octave. In the westernmusical tradition, the notes in an octave, such as in a major C scale,are C, D, E, F, G, A, B, C, where a Middle C₄ note may have a frequencyof about 260 Hz, and an upper C₅ note may have a frequency of about 520Hz, and a lower C₃ note may have a lower frequency of about 130 Hz.Because of the acoustic relationship between two pitches of notes anoctave apart, the upper note is perceived as qualitatively identical tothe lower note, but at a higher pitch. Hence, the octave is the intervalof seven notes between one musical pitch and another with double, goinghigher in the scale, or half, going downward in the scale, itsfrequency.

In various instances, a triad of notes, e.g., of a major C, may beplayed together so as to produce a stronger melodic sound, such as achord. The typical chord includes a major root note, e.g., C, played inaddition to the third and fifth notes of the octave scale, e.g., E andG. In order to be concordant, notes and chords, such as produced by theplucking of strings of various lengths and weights, must be played insuch a manner to create a harmonic tempo of pitches that move up or downthe scale of notes in a precise mathematical relationship to oneanother.

As indicated above, the notes in an octave can be arranged into anascending or descending order of pitches so as to make up a musicalscale. The steps between the pitches may be measured in tones, e.g.,whole steps, and semitones, e.g., half steps. Whole steps make up themajor or whole notes, while half steps make up the sharps and flats ofthe major notes. Particularly, in typical musical notation, a sharpmeans higher in pitch by a semitone (half step or half note), and a flatmeans lower in pitch by a semitone. A semitone, therefore, is thedistance between two notes that are next to one another in pitch, and itis the smallest musical interval used in the Western musical scale;while a whole tone is the distance of two semitones, e.g., the distancebetween two whole notes that are separated by one other note in pitch.

This can clearly be seen with respect to the organizational lay out of akeyboard of a piano. The distance between two white keys, or notes, thatare side by side may be a whole tone, if there is no black key betweenthem, or a semitone, if there is a black key in between. Accordingly, ona piano keyboard, to go from a C to a C sharp (or D flat) is a semitone,but to go from a C to a D is a tone. An octave, therefore, may bedivided into twelve semitones that are exactly equal in size.Consequently, a typical music scale will consists of the eight wholenotes of the octave, as well as an additional five notes consisting ofvarious semitones, e.g., sharps and flats.

In order for anyone to be able to play the music arranged and/orcomposed by another, the notes that comprise the music to be played andtheir order, as well as the timing for their playing, may be writtendown in a form called musical notation. Such notation therefore willallow any person who knows how to read such music to play the musiccomposed by the other exactly the way it is assumed its composer meantit to be played. Hence, musical notation involves the use of symbolsthat stand for the various elements of the music to be played, includingbut not limited to: the staff, the clef, the key signature, the measure,the time signature, the tempo, and/or the like.

For instance, a stave or staff is characteristically drawn out on a pageof paper as a latticework consisting of a set of parallel lines wherethe notes to be played are illustrated by the lines and spaces that arewritten down in the staff. The staff ordinarily includes five parallelhorizontal lines, and the four intervening spaces between them. Eachline or space in the staff corresponds to a note having a particularpitch, and thus, represents a note in the scale of an octave that is tobe played. Such notes are designated on the staff by a note indicatorwhereby the line or space wherein the note indicator is positionedindicates which note of the scale is to be played, and which type ofnote indicator used indicates for how long the note is to be played.Hence, notes on a staff set forth the pitch of the music, whereby wherethe note indicator is positioned on the staff designates the pitch,e.g., high or low notes, to be played. Each of such notes so indicatedcan be applied to the piano such that each line or space represents awhite key in a set of keys comprising the octave on the keyboard of thepiano.

Such note indicators may be employed not only to indicate which note isto be played, e.g., pitch, but may also be used as time referencesymbols so as to designate the time period during which the particularnote is to be played. A whole note indicator indicates that the note isto be played for a whole length of a given time, a half-length noteindicator indicates that the note is to be played for half of the timeas that of a whole note indicator, a quarter-length and eighth-lengthindicator indicates the note is to be played for a quarter or an eighthof the time. Hence, there are four typical note indicators: a wholenote, a half note, and quarter note symbol. Therefore, the pitch ofcomposition is indicated by where the natural note is put on the staff,and where these notes are to be played as a sharp or a flat, there aresharps or flat indicators that may be notated in front of the notes.

The staff may include additional symbols, such as a clef, a break, anaccidental, a key signature, a time signature, codas, and the like,which symbols dictate the pitch, rhythm, tempo, and articulation of thenotes to be played in performing the musical composition. Clefs definethe pitch range of the particular staff on which it is placed.Particularly, a clef is employed as a sign, e.g., a key, that ispositioned at the beginning of the staff, e.g., it is usually theleftmost symbol, and makes it possible for someone playing the writtenmusic to work such as to indicate a change in register for instrumentswith a wide range. Because there are only five lines in an ordinarystaff, the clef functions as a designator to assign individual notes tothe given lines and/or spaces of the staff.

More particularly, because a typical staff is only large enough to coverone and a half octaves of music, different clefs are used for notatinghigh and low ranges for the composition. For example, there are Treble,Alto, Tenor, and Bass clefs. The treble clef is typically called a “Gclef”, and is drawn by starting with a circle in the middle, then goingup, round and straight down with a hook at the end. Counting from thebottom, the second line of the staff goes through the middle of thetreble clef's circle. Positioned here, it assigns G above middle C tothe second line from the bottom of the staff. Hence, a note on this linetherefore will be a G note. Accordingly, the note in the space above theG line becomes representative of an A note, and the note on the lineabove the A becomes representative of a B note, etc. for all the notesin the scale. Additionally, Middle C then becomes the first ledger linebelow the staff.

The treble clef is traditionally used to demark the playing of noteshigher than middle C, and for piano or flute music, the notes to beplayed by the right-hand are usually written using the treble clef. Thealto clef is an example of a C clef, because the middle of the symbolthat makes up the C clef, written on the third line of the staff, pointsto the middle C note. The tenor clef is another C clef, however, themiddle C note is written on the fourth line of the staff. The bass clefis an F clef because the two dots that make up the clef are on eitherside of the fourth line up, which demarcates the F note below the middleC note. Typically, the bass clef is used to notate the notes to beplayed by the left hand in piano music. Hence, the notes to be played bya pianist's right hand may be written using the treble clef, while themusic to be played by the pianist's left hand may be written using thebass clef.

In traditional tablature, a key signature is typically notated after theclef and shows the key for the piece to be played. For instance, when amusic piece is played, it is typically played in a particular key, suchas a key of one of the twelve tone and semitone notes. As describedherein, on octave is comprised of eight natural notes, called tonenotes, but may also include sharps or flats, which comprise semitonesthat are in a pitch between the whole notes. The key signature,therefore, shows which notes in a written composition have to regularlybe changed into semitones, e.g., sharps or flats.

Hence, a key signature is a set of sharp or flat symbols placed togetheron the staff, next to the clef, that designates which of the demarcatednotes need to be played higher or lower than their corresponding naturalnotes. Particularly, a sharp symbol on a line or space between the linesin the key signature raises the particular note that would otherwise beindicated by that line or space one semitone above the natural, and aflat lowers such indicated notes one semitone. For example, a sharpraises the pitch of notes on the corresponding line or space, as well asall the octaves thereof, by a semitone; and a flat lowers the pitch ofnotes on the corresponding line or space by a semitone and all octavesthereof, thus defining the prevailing major or minor key. On a pianosuch semitones are played via the black keys.

Such key signatures typically apply through to the end of the piece orup to the next key signature. Thus, a symbol in the key signatureaffects all of the particular set of notes designated in that octave andall remaining octaves, thereby defining the prevailing major or minorkey in that piece of music. For example, a sharp on the top line of atreble staff, which would indicate that an F note is to be played, wouldconvert that note to an F sharp, and this transition would then apply toany Fs not only on that line, but also to Fs in the bottom space of thestaff, and to any other Fs in the music. Consequently, the key signatureserves as the “home note” or tonic of the piece to be played, such thatthe piece will be built on the notes of the scale that begin with thatnote, and when the piece finishes it normally comes to rest on this homenote.

There are two kinds of key: a major key, and a minor key. A major key iscomposed of seven separate notes, plus an eighth that is the same as thefirst but an octave higher. For instance, the simplest major scale towrite, or play, e.g., on the piano, is the C major key, because it isthe only major scale not to require sharps or flats, and hence can beplayed using only the white keys on the piano keyboard. A minor scale,on the other hand, is a scale that forms a triad and has the threefollowing scale degrees: the tonic, the minor third above the tonic, andthe perfect fifth above the tonic, which together form the minor triad.Commonly, a minor scale is a series of notes with a sad, sombercharacter and begins on the sixth note of its relative major scale.

Further, because a scale can start on any note, and there are twelvenotes within an octave, seven natural notes, or tones, and five semitonenotes, there are twelve major and minor keys. For the piano these arethe seven white notes and the five black notes on the keyboard.Accordingly, each major key has its own key signature, however, eachminor key shares a key signature with one of the major keys.Particularly, there are fifteen possible key signatures: up to sevensharps, up to seven flats, or no sharps or flats. There are many reasonsfor writing a key signature, such as saving time by avoiding the writingout of sharps or flats, and further, it helps the player to think in thekey of the piece.

Typically the staff may be divided into bars. Bar lines are verticallines that transect the horizontal lines of the staff separating it intomeasures. Each measure, between two sets of bars, represents a smallamount of time that governs the beat or pulse of the music being played.Particularly, a beat is the fundamental unit of music, and it is used tomeasure the pulse and/or rhythm of the music. As such, the bars dividethe piece into regular groupings of beats, and as described below, thetime signature shows these groupings. Hence, each measure typically hasthe same number of beats in it, where the beat represents a given noteto be played.

Additionally, at the beginning of the music notation there will be atime signature. Time signatures define the meter of the music to beplayed. Typically, a time signature indicates how many beats there arein each measure between the bar lines. Hence, as described above, musicis “marked off” in uniform sections called bars or measures, and timesignatures establish the number of beats in each.

The time signature is a set of two numbers represented as a fraction,one on top, e.g., the numerator, and the other one on the bottom, e.g.,the denominator, and they are usually positioned immediately after wherethe key signature is written. The two numbers of the time signature tella music performer how many times a given note should be played for eachbeat within the measure of the music. The number in the top of the timesignature, e.g., the numerator, tells a player how many of a given notethere are in each measure, e.g., the number of times the note must beplayed within a given time. This is the beat. The number in the bottomof the time signature, e.g., the denominator, tells what the count isfor the note being played, e.g., what the time is within which each beatmust occur, and also signifies which note gets the beat.

The number on the bottom of the time signature can be any number thatfollows the pattern 1, 2, 4, 8, 16, 32, etc. where each number in thepattern is two times the number that came before it. If a note is not tobe played for a given beat in the measure, this may be notated by arest, which represents a silence in the music of that measure. Forexample, 4/4 time means that there are four quarter notes, or notes thatlast one beat, in each measure. Hence, music that pulses in a repeatingpattern such as 1-2-3-4-1-2-3-4 will be divided into bars with fourbeats-worth of music in each bar.

Along with the beats to be played, as indicated by the time signature,the tempo, e.g., the speed at which the music is to be played may alsobe indicated, such as noted by a word or words positioned above thestaff. Additionally, at various places in the tablature dynamic marksmay be notated so as to show how loud or soft the given notes are to beplayed. Notes which are very high or low can be put in additional linescalled ledger lines, which lines may be added above or below the stave.

There are several problems with the above-described methods for notatingthe music to be played by a given composition. For instance, thetablature, of the prior art, is laborious to notate, difficult to read,and extremely tortuous to follow. Particularly, there is simply norelationship whatsoever between a given symbol for a note to be played,e.g., a particular pitch to be sounded, as indicated in the tablature,and what mechanical action needs to be performed so as to play that noteon the instrument being played.

Further, the staff system itself is not intuitive and very tough totranslate for one simply reading the music, let alone for one attemptingto interpret and then play the music at real time, such as at aperformance. For example, the five lines of the staff can become verydense and convoluted the more difficult the music to be played becomes.The more and mixed the notes to be played, the more varied increases ordecreases in pitch, the rapidity with which the tempo is to be changed,as well as fluctuations in keys, can make the tablature practicallyundecipherable.

Furthermore, the clef is an archaic manner with which to represent thekey notes in a scale of music to be played as the symbol itself hasvirtually no innate relationship to the key or pitch it indicates, andthis becomes even more complicated when different clefs are used toindicate which hand plays which notes on the instrument being played inperforming the music.

The key signature suffers from the same problem in that there is noindicative nature, outside of learning music theory, between how thesignature is notated within the staff, and how it relates to the type ofnotes to be played that are part of any particular key. Additionally,when reading music it is often difficult to interpret the symbols of theparticular notes demarcated, let alone having to decipher whether theyare following a major or a minor progression.

For instance, because a scale can start on any note, and there arepotentially seven major and five minor keys that can be played withrespect to a given octave, and because each major key has its own keysignature, while each minor key shares a key signature with one of themajor keys, a person playing by following the tablature has not only tofigure out how to manipulate his or her hands and/or body so as to beable to play the instrument, they must also be able to do so whileattempting to decipher complex symbols set forth in a convoluted staffformat. This makes learning to play an instrument incredibly difficult,and virtually impossible to do so while reading music. Such is attestedto by considering the attrition rate of those who start learning to playan instrument, and those who actually succeed by learning to read andplay the music via the tablature successfully. It has been estimatedthat about 95% of the people who begin to learn to play an instrumentfail to do so because of the complexity involved with learning to readthe tablature.

Learning to decipher, interpret, and implement the playing of music,such as by reading the tablature, is made even more difficult whenhaving to account for the various different measures and time signaturesthat are dictated by the tablature. Such difficulty is not simply atechnical problem inherent to learning to read music, it is also anantiquated system that stifles creativity while promoting mimicry. Astudent learning to play a given piece of music is required to followthe prescribed manner in which the song has been notated and set forthby the measures and given time signatures.

In such an instance, the student, if they can learn to read andinterpret the music in the first place, is then locked and bound withina system that dictates the every move of the person playing the piece.Such rigid constructionism prevents the student from exploration anddiscovery and rather forces them into a strict mode of playing that ismere parroting without any clear hope of innovation. Even the tempo,pitch, and rhythm are dictated in a didactic manner to the studentlearning to play by the tablature such that it takes a herculean effortto learn to play and read music, and yet, almost everyone loves tolisten to music. In fact, it is estimated that over hundreds of millionsof people worldwide listen to music on personal, digital music players,and in the US the average person listens to about four hours of musiceveryday.

Further, as noted above, music is played on an instrument. Commoninstruments include those operated by pressing keys, such as a piano,those operated by plucking strings, such as a guitar, those operated bymoving wind through a chamber, such as a flute, and combinations of thesame. For instance, a piano is a musical instrument that includes alarge soundboard of metal strings that are held taught under a giventension such that when struck a given string vibrates and thereby playsa characteristic musical note. To effectuate the striking of suchstrings, the piano includes a plurality of wooden hammers, e.g., one foreach string, and an equal number of levers or keys that control theoperation of the wooden hammers, which in turn control the striking ofthe strings. Particularly, the strings of the piano's soundboard arearranged into octaves that may be played by depressing the various keysof the piano, which then causes the corresponding wooden hammer tostrike their respective strings, thereby causing them to vibrate attheir resonant frequency producing their characteristic sounds, as notedabove.

A typically piano keyboard consists of eighty-eight keys of whichfifty-five are longer, white keys; and thirty-six are shorter blackkeys, which together form seven octaves (plus four minor notes) oftwelve notes each. The white keys control the playing of the sevennatural major notes of the western scale, organized from lowest tohighest in pitch, including C, D, E, F, G, A, B, C, for the C majorscale. The black keys control the playing of the five sharp and/or minornotes that are associated with the major scale. These twelve keys arethen repeated seven times at the interval of the octave. The notes ofthe piano are played by depressing the keys, and silenced when the keysare released. However, the notes can be sustained, even once a given keyis released, such as by depressing a sound sustaining pedal.

Like a piano, a guitar is a stringed musical instrument including afretted fingerboard, much like the soundboard of a piano, having aresonating chamber, typically incurved sides, and anywhere from four orsix to twelve or eighteen strings that are played by plucking orstrumming them with the fingers or a plectrum. Frets are metal stripsthat are embedded along the fretboard and located at exact points thatdivide the string into a scale length in accordance with a specificmathematical formula. Pressing a string against a fret or fret boarddetermines the strings' vibrating length and therefore its resultantpitch. The pitch of each consecutive fret is defined at a half-stepinterval on a 12 pitch scale, e.g., a chromatic scale. Standardclassical guitars have 19 frets and electric guitars between 21 and 24frets. Each set of twelve frets represents an octave, and the frets arelaid out to accomplish an equal tempered division of the octave. Moreparticularly, the twelfth fret divides the scale length exactly into twohalves. Typically, a guitar has six strings that are tuned so that eachstring plays a different note, including E, A, D, G, B, and E.

Likewise, a flute is a reedless wind instrument made from a hollow tubethat forms a cylindrical resonant cavity. A typical flute has amouthpiece opening, e.g., an embouchure hole, which a player blows into,and further includes holes along its length that are stopped by thefingers or keys. The flute may be designed to be held vertically orhorizontally in such a manner that the player's breath strikes a narrowedge of the mouthpiece opening. Accordingly, a flute produces sound fromthe flow of air across the various openings of the holes along itslength. For instance, as a player blows in through the mouthpieceopening a stream of air is directed across one or more holes in theinstrument such that a vibration of air at the hole is created, thisvibration excites the air contained in the resonant chamber producing anote as the air is expelled through the opening(s). Particularly, theenergy in the stream of air pushed through the flute is radiated assound out of the end and any open holes. However, the air stream must bedirected at the correct angle and velocity, or else the air in the flutewill not vibrate.

The pitch of the note is produced by the opening and closing of theholes in the body of the tubular resonant chamber, which opening andclosing changes the effective length of the resonator and itscorresponding resonant frequency. Further, by varying the air pressuretransmitted to through the mouthpiece opening by the player, the pitchof a note can also be changed by causing the air in the flute toresonate at a harmonic rather than the fundamental frequency such aswithout opening or closing any holes. Hence, the distance between themouthpiece hole and the first finger-hole is selected such that as airis passed through the finger-hole, a given note of the scale, e.g., an Aor a G, is sounded. Typically, for a tube of a given length, open atboth ends, the wavelength of the sound is twice the length of the tube,and hence, the finger-holes along its length will be determinedmathematically such that each hole produces a note in the Western majorscale depending on the fingering pattern of which holes are open, whichare closed, and which are semi-open at a given time.

For example, many modern flutes feature keys and levers that open andclose the finger-holes of the flute and thereby work together to createdifferent musical notes. Typically, both hands are used to finger thekeys and create the different notes. Particularly, the left hand indexfinger key produces a C note, the middle finger key produces an A note,the ring finger key produces a G note, and the pinky key produces a Gsharp key. The right hand index finger key produces an F note, themiddle finger key produces an E note, and the ring finger key produces aD note. The right hand may also have trill keys: B flat, C sharp, D andD sharp. The pinky keys in the right hand can be the E flat, low Csharp, low C, low B and high C facilitator key.

Accordingly, instruments are useful for the playing of music. Inparticular, various parts of the instrument including keys and/orstrings thereof need to be manipulated in various manners so as to playor otherwise produce music. However, knowing when and how to manipulatesuch keys and/or strings in the playing of notated music is verydifficult. Particularly, it is hard to know which key or string tomanipulate to produce a given note, how long to press it, and with whatamount of force. Additionally, such playing is made even morecomplicated when one must read and translate the instructions by havingto interpret the archaic tablature in which it is encoded. For these andother reasons over ninety-five (95%) of the people who start to learn toplay an instrument give it up not having reached their desired goals forwanting to learn to play in the first place.

What is needed, therefore, is a new way to memorialize a given piece ofmusic that has been, or is to be, composed that does away with thearchaic staff system and complex musical notation currently deployed bytablature today. A new system that makes writing a composition lesslaborious, easier to decipher, and is more intuitive in that the symbolsemployed are more closely related to the instrument to be played, wouldbe very useful in helping the ninety-five percent of the people who trybut fail to learn to read tablature actually be capable of not onlylearning to read the music but play it as well. Additionally what arefurther needed are devices that make playing an instrument easier and/orbetter ties the musical notation to the correct manipulations of theinstrument required to play the notes notated in the music. Accordingly,the musical notation, devices, instruments, and systems describedherein, as well as their methods of use meet these and other such needs.

SUMMARY OF THE DISCLOSURE

In one aspect, provided herein is a device for notating a musicalcomposition. The device, in various implementations, is structured so asto be less laborious to notate, easier to read, and more simple toemploy in arranging, reading, and/or playing the music of a givencomposition to be composed and/or played. Accordingly, in its most basicform, the device herein disclosed includes a substrate having a templatethereon, within and/or upon which template one or more symbols may benotated, where such notation is produced in a manner that more closelyrelates the note to be played with the pitch to be sounded and/or themechanical action needed to be performed so as to play that note and/orsound that pitch, such as on an instrument to be or being played.

For instance, in various instances, the template employed and symbolsused so as to be notated are not the traditional symbols typicallyengaged when composing, reading, and/or playing music. Particularly, themusical notation devices, systems, and their methods of use, as hereinprovided, do not involve or otherwise include the traditional musicalnotation symbols of the ordinary staff, the clef, the key and timesignature, and/or rests, and the like, although in some instances thesemay be employed if desired. Rather, in the devices, systems, and methodsdisclosed herein, such traditional symbols are replaced with easier touse and more intuitive symbols and/or colors and/or sizes forrepresenting the notes, counts, measures, tempo, pitch, and/or rhythm ofthe music to be composed, read, and/or played. More particularly, thesymbols herein employed may be represented by simple lines, letters,and/or colors of a wide variety of shapes, sizes, and/or colors, such asthose that are more easily relatable to the notes to be played and thepitches to be sounded over a given period of time during which theplaying is to occur. In various instances, images or other associatedavatars, such as cartoons representing the notes to be played can beused to demarcate the pitches to be sounded.

For example, the devices, systems, and methods disclosed herein fornotating, composing, arranging, reading, and/or playing music mayinclude a substrate upon which a template may be positioned. Thetemplate may be configured for receiving the musical symbols and/orimages representing the same, which may be employed herein as one ormore compositional and/or note designators. Accordingly, in variousembodiments, a first set of symbols to be employed, such as to denotethe measure of the music, may include a one or more, such as a pluralityof bar lines, which bar lines may be represented by a plurality of linesseparated from one another by a length of space. In such an instance,the length of the space between the parallel lines may demarcate themeasure for the composition to be played. In various instances, aplurality of pairs of bar lines may be included within the bounds of thetemplate where each pair of bar lines demarcates a plurality ofmeasures, and in various instances, each of the bar lines and/or thelength of spaces there between may be equidistant.

In particular, the substrate may be any medium capable of demarcatingthe musical symbols, e.g., the bar lines and note designators, as hereindescribed. For instance, the substrate may be metal or a metalcomposite, wood or a wood byproduct, glass or a glass compound, achemical composition, or a mixture of the same, such as paper,cardboard, fiberglass, PLEXIGLAS, a chalkboard, whiteboard, a plastic orrubberized sheet, a TV screen, a computer monitor, or other displayscreen, such as that of a mobile computing device, laptop computer,tablet, mini-computing device, and the like. Likewise, the music andnote designators may be composed of metal or a metal composite, wood ora wood byproduct, glass or a glass compound, a chemical composition, ora mixture of the same, such as an ink or graphite or chalk-likecomposition, or may be represented graphically, such as via computercoding as herein described.

In such instances, the substrate may have a length and a width and/orthickness, such as to be present in three-dimensional space or to be atleast represented in three dimensional space; and in some instances, thesubstrate may simply include a length or a width, such as whenrepresented in two-dimensional space, such as when represented as one ormore figures on a computer generated media. Particularly, in variousinstances, the substrate may have a proximate portion, bounded by a topedge, a distal portion bounded by a distal edge, as well as a pluralityof side portions having a left-side edge and a right-side edge. Incertain instances, the substrate may have a first, front surface and asecond, back surface.

As indicated, a template may be generated and/or positioned on orotherwise represented within the substrate. The template may include aplurality of pairs of bar lines such as positioned horizontally, runningfrom left to right across the template. In other instances, the templatemay include a plurality of pairs of bar lines such as positionedvertically, running from top to bottom along the template. In variousinstances, the template may be configured such that the bar lines and/orthe note designators there between may be configured to move acrossand/or down the template. In certain instances, a template may not needto be employed, rather, the substrate may perform the function of thetemplate.

Particularly, in various instances, one or more additional symbolsand/or images, e.g., note designators, may be employed so as todesignate which pitches are to be sounded and/or notes are to be playedon an instrument within a given measure, such as within a pair ofdemarcated bar lines of a template. In some instances, the number ofsymbols between the bar lines, e.g., bar ends, may be equivalent to thenumber of beats that correspond to a count for the musical compositionto be played, e.g., where each count may be a standard measure of time.In some instances, the number of symbols between the bar ends may beless than the number of beats that correspond to the count for themusical composition to be played, and hence one or more counts may bedemarcated as a silence for one or more standard measures of time.Accordingly, in such an instance, the symbol for a note designatorand/or a silence may be positioned on the template and/or substratebetween the plurality of bar lines, such as where the note designatormay be used to represent one or more of a pitch of a note within one ofa set of octaves or a silence, e.g., a rest, where each octave includesa number of pitches of notes.

In such an instance, therefore, the note designator may be employed fordesignating the pitch of a note to be played, or a silence in an absenceof a note to be played. In various instances, the note designator mayhave a relative size, a color, and/or optionally a number associatedwith the note designator, such as where the size of the note designatormay define or otherwise determine one or more of the following: therelative length of time, e.g., how many beats, during which the pitch ofthe note is to be played and/or the time signature for the pitch to beplayed. Additionally, the color of the note designator may define orotherwise determine to which set of octaves the note designator belongs.And the number, where included, may define or otherwise determine withwhich finger a corresponding note on an instrument is to be played.

More particularly, in various instances, the note designator may includea letter and/or a number. In such an instance, the letter may be anyletter, but in various instances, the letter may be selected from agroup representative of Western music denotation, such as an A, B, C, D,E, F, and G, or a foreign language translation of such letters, forinstance, where the letter represents a corresponding musical notehaving the designated pitch. In some instances, the pitch of the musicalnote may be a natural tone or a semitone, e.g., a sharp or a flat,vibrating at a particular frequency. In such an instance, the number maybe any number, but in various instances, the number may be selected froma group representative of Arabic numerals, such as a 1, 2, 3, 4, and 5.In some instances, the note designator may be an image, such as anavatar or a cartoon representative of the letter or the number, such aswhere the name or designation of the image begins with one of theletters A, B, C, D, E, F, and G, and/or a derivation of a number.

In various embodiments, the relative size of the note designator maydefine and/or otherwise determine the length of relative time duringwhich the note is to be played and/or the pitch is to be sounded and/ora silence maintained. In various instances, a plurality of notedesignators may be included, such as within a measure, wherein thenumber of note designators defines and/or determines which notes and/orpitches get the beat and when. For instance, in one particularembodiment, the relative size of the note designator determines the timesignature for the note to be played, such as where the time signaturefor the note to be played represents the number of times and/or beatsand/or counts during which the corresponding pitch is to be soundedduring the measure, and/or which notes gets the beat or a silence andwhen.

In some embodiments, the relative size of the note designator includes asize range ranging from a large or largest size to a small or smallestsize, such as where the larger the size the longer the duration of timethe note is to be played or a silence maintained, and likewise thesmaller the size the shorter duration of time the note is to be playedor the silence maintained. Hence, the size range includes a sizeselected from one or more of the following: largest size, larger size,large size, medium size, small size, smaller size, and smallest size,and the like. Accordingly, in some particular embodiments, the relativesize of the note designator represents the time signature, which timesignature may be representative of a member selected from the groupconsisting of a whole note, a half note, a quarter note, an eighth note,a sixteenth note, a thirty-second note, a sixty-fourth note, and/or thelike. Specifically, in some particular embodiments, the largest size ofthe note designator comprises a whole note, the larger size of the notedesignator comprises a half note, the large size of the note designatorcomprises a quarter note, the medium size of the note designatorcomprises an eighth note, the small size of the note designatorcomprises a sixteenth note, the smaller size of the note designatorcomprises a thirty-second note, and the smallest size of the notedesignator comprises a sixty-fourth note.

Hence, in various embodiments, a substrate is provided, wherein thesubstrate may be any body upon which one or more markings composed ofthe one or more symbols disclosed herein may be set forth. Inparticular, the substrate may have an elongated body having a proximalportion including a proximal end, a distal portion including a distalend, and a medial portion separating the proximal portion from thedistal portion, wherein the substrate includes a template upon which themusic to be composed, read, and/or played may be notated. In variousinstances, the symbols may be composed of one or more markings thatcharacterize the music of the composition to be notated. For instance,the template may include a plurality of bar lines such as a first barline and a second bar line, where the first bar line is positioned onthe left hand side and/or the proximal portion of the template andfunctions as an indicator indicating where the musical compositionbegins, and the second bar line is positioned in a rightward and/ordownward direction to the first bar line. Further, in certain instances,additional symbols may be positioned to the right and/or left hand sideof the first bar line, or upwards or downwards therefrom, such as wherethose symbols on the right hand side or downwards of the first bar lineindicate which notes and in which order those notes are to be played orsilences maintained and for how long, and the additional symbol(s) onthe left hand side or upward side indicate which hand the notes of agiven measure are to be played with.

More particularly, in various instances, the symbols characterizing themusic of the composition to be notated, e.g., on the right hand ordownward side of the bar end, may include note designators, such asletters representing the individual musical notes of a scale within ameasure, where each musical note corresponds to a musical pitch to beplayed on an instrument, or a silence in the absence of a note to beplayed within the measure. In such an instance, the symbols, e.g.,letters, numbers, or images, may have a size, where the size of theletter et al. corresponds to a length of time during which the musicalpitch is to be played or the silence maintained. In such an instance,the size and/or number of note designators and/or a movement thereof,between any given pair of bar lines, indicates how many beats there arefor that given measure, and which notes get the beat. Further, thesymbol on the left hand or upward side of the bar end may be an image ofa right or left hand, which may include an image of one or more fingers.In such instances, the image of the right or left hand indicates withwhich hand the note is to be played, and the image of each finger mayinclude a finger number, such as where the number determines with whichfinger a corresponding note on an instrument is to be played. And incertain instances, the note designator may include a number, and thedesignator number may correspond to the finger number.

Additionally, as indicated above, in order to produce such music, one ormore keys and/or strings of an instrument need to be manipulated in adesignated way, such as notated in the tablature, as described above.Particularly, there are two major types of musical instruments: acousticand electric. Acoustic instruments are those that are configured forproducing tones in the harmonic range of a scale, such as by thevibrations of plucked strings or the air passing through a tube ofvarying lengths. Electrical instruments, on the other hand, producesounds indicative of the natural pitches through an electronic soundgenerating and/or amplification device that electronically mimics thefrequencies of the same pitches produced by the acoustic instruments.Particularly, where acoustic instruments produce notes naturally throughthe vibrations caused by mechanical motions, such as a string vibratingaccording to a particular frequency, electrical instruments generatesounds electronically through impulses and/or digital representationsthat produce tones that correspond to the natural pitches of the scale.However, in either case, various keys and/or strings need to bemanipulated in a specific order so as to play the instrument in a mannercoincident with the notated music.

Hence, in one aspect, presented herein, are instruments, such asacoustic and/or electric instruments that have been adapted so as toindicate which key and/or string needs to be manipulated and in whatorder and/or with what amount of pressure so as to produce a given noteor series of notes, such as notes notated within the tablature set forthherein. Particularly, acoustic instruments, such as the piano or guitar,produce vibrations when mechanical implements, such as hammers or thefingers of the hand, impact or pluck particular strings of varyingweights and/or lengths in particular manners. More particularly,presented herein are stringed instruments, such as pianos and guitars,that have been configured in such a manner so as to indicate which keyor string at a given location of the instrument needs to be manipulatedand in what way so to produce a given series of notes so as to play agiven notated composition in a manner coincident with the manner inwhich the composition was notated.

This applies equally to the electronic instruments that generateelectronic sounds in response to mechanical motions. For instance, insuch instances, the keys to be depressed and/or the strings plucked soas to generate the digital signals that correspond to the natural pitchsounds that are produced by the playing of the corresponding acousticinstruments may also be configured so as to indicate which key and/orstring is to be manipulated, when, for how long, and in what intensityso as to play the composed composition in the manner in which it wascomposed. This applies for other such stringed instruments as well suchas the hammered dulcimer, bass guitar, the violin, the cello, and thelike.

Likewise, for wind instruments, such as the flute, the trumpet, and thelike, vibrations are caused by wind passing through a tubular elementhaving various openings along its length through which blown air maypass. Such openings may be closed by various mechanical implements, suchas keys and/or the fingers of the hand, such that the length of thetubular element may be varied, such as by the pressing of keys that openup or close the holes through which the air passes in a manner so as tocause vibrations and consequently tones corresponding to the pitches ofa musical scale to be sounded. Accordingly, presented herein are windinstruments, such as flutes and trumpets, that have been configured insuch a manner so as to indicate which key or hole at a given location ofthe instrument needs to be manipulated and in what way so to produce agiven series of notes so as to play a given notated composition in amanner coincident with the manner in which the composition is notated.This applies for other such wind instruments as well such as thesaxophone, the trumpet, the clarinet, the bassoon, and the like.

More particularly, provided herein are systems including musicalnotations, musical notation display devices, and musical instrumentsthat are communicably and/or electronically connected in such a mannerto make the playing of the musical instrument in a manner thatcorresponds to the notated music easier, more natural, and accurate.Particularly, the musical notation, as herein disclosed, is configuredin such a manner that when a given note that is to be sounded whenplaying a given notated piece of music is indicated, e.g.,electronically, the corresponding key, string, and/or opening to bemanipulated on the instrument so as to sound that particular note, isalso indicated. The duration during which the note is to be played, aswell as with what intensity, and where on the instrument the given key,string, or hole is may also be indicated in one or more manners.Accordingly, once a musical composition has been notated, such as setforth herein, in order to play the music of the piece on an instrument,the notated composition may be indicated on the instrument for theplayer, who then performs the mechanical actions indicated so as tomanipulate the instrument and its component parts so as to produce themusical pitches in the manner that the sounds so generated correspond tothe musical notes notated in the composition.

BRIEF DESCRIPTION OF THE FIGURES

FIG. 1 is an example of a typical tablature and symbols used therein fordemarcating music as known in the prior art.

FIG. 2A is an example of a substrate containing a template of thepresent disclosure for use in notating, composing, arranging, and/orplaying music and/or the like.

FIG. 2B is another example of a substrate containing a template of thedisclosure, where the template includes a plurality of symbols, such asbar lines, indicating a plurality of measures within which music to becomposed may be notated, and once notated may be composed, arranged,and/or played.

FIG. 3A is a table which in the left-hand column sets forth a typicalnote as used in the tablature of prior art so as to designate a pitch tobe sounded in a musical composition, and in the right-hand column is setforth a representative note indicator as employed within the presentdevices, systems, and methods for notating, composing, arranging, and/orplaying music and/or the like.

FIG. 3B is another example of a substrate containing a template of thedisclosure, where the template includes a plurality of symbolsindicating notes of a given pitch within an octave to be played, such asin a musical composition, where the size of the note designatorindicates the length of time of the measure during which the note is tobe played and/or the number of note designators indicate how many timesand for how long the note is to be played, such as for how many beatsduring the measure a note is to be played.

FIG. 3C is another example of a substrate containing a template of thedisclosure, where the template includes a plurality of symbolsindicating one or more silences in the absence of a note or notes to beplayed, such as when in a given measure a silence is to be maintainedduring one or more beats within the measure, where the size of the notedesignator indicates the length of time of the measure during which thesilence is to be maintained and/or the number of note designatorsindicate how many times and for how long the silence is to bemaintained, such as for how many beats during the measure the silence(s)is to be maintained.

FIG. 3D is a table which in the left-hand column sets forth a sharp or aflat indicator as used by the prior art to notate the shift of a pitchof a note to be played by one semitone upwards, in the case of a sharp,or downwards, in the case of a flat, and in the right-hand column setsforth a number, e.g., from 1 to 5, wherein the number indicates asemitone note to be played within a musical composition.

FIG. 4A is another example of a template that may be used to notate thenotes indicative of pitches to be played in a musical composition,and/or may be representative of a musical instrument that may be playedin accordance with the teachings herein.

FIG. 4B is a further example of a template that may be used to notatethe notes indicative of pitches to be played in a musical composition,and/or may be representative of a musical instrument that may be playedin accordance with the teachings herein.

FIG. 5A is a representation of a Left-hand symbol, and a Right-handsymbol, which may be employed within the devices, systems, and methodsherein disclosed, so as to represent with which hand a given note or setof notes is to be played.

FIG. 5B sets forth a representative template of the disclosure includingvarious symbols for indicating how a given composition is to be played.

FIG. 6A shows an acoustic piano embodiment of an instrument as describedin the specification.

FIG. 6B shows an electronic keyboard embodiment of an instrument asdescribed in the specification.

FIG. 6C shows an embodiment of a key for a keyboard as described in thespecification.

FIG. 6D shows an embodiment of an instrument keyboard using keys asrepresented in FIG. 6C.

FIG. 6E shows a schematic diagram of a circuit board for an instrumentas described in the specification.

FIG. 6F shows a schematic diagram of processing functions for a systemas described in the specification.

FIG. 6G shows a schematic diagram of a system for an instrument asdescribed in the specification.

FIG. 6H shows a flow chart of a method used by an instrument asdescribed in the specification.

FIG. 7A shows a schematic diagram of a system in which electronicinstruments communicate via a network.

FIG. 7B shows a flow chart for a method of displaying music notation andactivating key indicators on an electronic instrument.

FIG. 7C shows an embodiment of tablature presented on a display overtime.

FIG. 7D shows another embodiment of how tablature may be presented on adisplay.

FIG. 7E shows yet another embodiment of how tablature may be presentedon a display.

FIG. 8A shows a flow chart of the selection of gaming modes in systemsdescribed herein.

FIG. 8B shows a flow chart of a method using the teaching mode forelectronic instrument systems as described herein.

FIG. 8C shows a flow chart of a method using the game mode forelectronic instrument systems as described herein.

FIG. 8D shows a schematic diagram of the types of teaching games thatmay be selected by a user of electronic instrument systems describedherein.

FIG. 8E shows a flow chart of an exemplary method for selecting types ofcompetition games for electronic instrument systems as described herein.

FIG. 9A shows a schematic diagram of electronic instruments controlledby a first player and a second player, the electronic instrumentsinteracting with a music server via a network.

FIG. 9B shows a schematic diagram of a system for playing games, havinga single player connected to a game server.

FIG. 9C shows a flow chart for a method of allocating points to aplayer's score for gaming systems as described herein.

DETAILED DESCRIPTION OF THE DISCLOSURE

As summarized above, music is made up of sounds that result fromvibrations such as is caused by strings being plucked or air passingthrough orifices of variable lengths. Based on the frequency ofvibrations and the characteristics of the strings and/or openings, thesounds may be grouped into harmonic pitches that form octaves of notes.The notes in the octave form a scale where each successive note rises inpitch. Additionally, the octaves themselves can be grouped together toform repeating scales that moves from octaves containing pitches of lowfrequency, such as comprised of base notes, at the lower end of theoverall scale, to octaves containing pitches of higher frequency, suchas comprised of alto notes, at the higher end of the overall scale. Insuch an instance, the overall scale may include a repeating set ofoctaves, where each octave begins at a first note and includes sevennotes of differing pitches as well as an eighth note that is the same asthe first note, but vibrates at an octave higher than the first note.Hence, the last note in one group of octaves is the first note in asucceeding octave of higher pitches.

There are, therefore, seven concordant pitches in an octave that forms ascale, where the pitches are arranged from lowest to highest soundingnotes, and on the eighth note the scale repeats, e.g., because of theacoustic relationship between two notes an octave apart, the upper noteis perceived as qualitatively identical to the lower note, but at ahigher pitch. In order to be concordant, notes and chords, such asproduced by the plucking of strings or the passage of air throughopenings of various lengths, must be played in such a manner to create aharmonic tempo of pitches that move up or down the scale of notes in aprecise mathematical relationship to one another.

Classically, these notes are designated with letters from the Phoenicianalphabet including, for example, C, D, E, F, G, A, B, C′. However, whenreproduced in written form, such as when employed in the composing of amusical composition, these notes are designated with alternative symbolsthat are written in a graph-like structure called a staff. Musicalnotation, therefore, involves the use of symbols that stand for thevarious pitches of the notes that form the musical composition that areto be played by a musical instrument. The notated composition mayfurther include various other elements that demarcate the technicalfeatures of the arrangement to be played including but not limited to:the staff, the clef, the key signature, the measure, the time signature,the tempo, and/or the like. Accordingly, musical notation involves theuse of symbols that stand for the various elements of the music to beplayed. A typical staff of the prior art as used for the composing andplaying of music is set forth in FIG. 1.

Particularly, as set forth above, in order to be able to play composedmusic, the notes to be played comprising that music and their order, aswell as the timing involved with respect to the sounding of thosedesignated notes, often times need to be written down as musicalnotation. Such notation is typically referred to as tablature 2. It isthis notation that allows any person who knows how to read such musicalnotation to play the music composed exactly the way its composer meantit to be played. Such notation, therefore, is useful in effectuating thetransmission of music from one person to another, from one generation tothe other, over time. This usefulness, however, comes at a veryexpensive price, that of creativity and innovation.

More particularly, the music tablature 2 as set forth below, withrespect to FIG. 1, stifles innovation in that rather than promoting thecreativity of the persons reading and playing the music by encouragingthem to play notes outside the notated lines, such as by addingembellishments as desired within the structure of the music, thetablature 2 dictates the controlled parroting of the notes requiringthem to be played precisely in the order and as exactly notated withinthe archaic tablature. In such a framework as this, musical competencyis reckoned not based on ones creative abilities, but on how well theyplay any given piece in its exact detail as originally composed.However, such was not the original intent of the great composers of thepast, and is what the present devices, systems, and methods areconfigured for redressing.

This is important because the tablature 102 of the present disclosureembodies a more accurate representation of how the original composedmusic was intended to be played and to be transmitted down through theages. More particularly, as initially composed, the notated music,typically intended to be played by the right hand, included a melodyline to be followed rather precisely, with allowances for slightvariations, but it also included a secondary source of notation,typically to be played by the left hand, which notation encapsulatedvarious embellishments of the melody line that was intended to be moreof a suggestion than a requirement to be performed accurately. Hence,the original notation, especially with respect to the playing with theleft hand, was meant more as a guideline giving directions so as toarrive at an ultimate destination through many various possiblepathways, and was not meant to be a strict set of instructions that hadto be followed specifically. However, this was not the way musicalnotation developed over time.

As can be seen with respect to FIG. 1A, musical notation 1 involves theuse of symbols that stand for the various elements of the music to beplayed, including but not limited to: the staff 10, the measure 30, thetime signature 15, the clef 13, the key signature 16, the tempo, and/orthe like. Such musical notation is set forth in written form astablature 2. For instance, the basic component of tablature 2 is thestave or staff 10. The staff 10 is a latticework consisting of a set ofparallel lines where the natural tones or notes to be played areillustrated by the lines 11 and spaces 12 that are written down as theframework that makes up the staff 10. Particularly, the music to beplayed contains two basic qualities that typically include: the soundingof a note 14 of a particular pitch, and a time period 15 during witchthat note is to be sounded. The tablature 2, therefore, must account forthese two characteristics. Specifically, the tablature 2 must indicatenot only which note 14 is to be played, but must also indicate the timeperiod 15 during which that note is to be played.

To accomplish this, therefore, the typical staff 10, such as presentedin FIG. 1, ordinarily includes five parallel horizontal lines, e.g., 11a, 11 b, 11 c, 11 d, and 11 e, as well as the four intervening spaces,e.g., 12 a, 12 b, 12 c, and 12 d, between the five lines 11. Each lineand each space within the staff 10 represents the character of a notehaving a particular pitch that must be played. Particularly, each line11 or space 12 in the staff 10 corresponds to a note 14 having aparticular pitch, and thus, represents a natural note, e.g., C, D, E, F,G, A, B, C′, in the scale of an octave that is to be played. Forinstance, to indicate which of the possible natural notes is to beplayed, a symbol, such as a note indicator 14, may be positioned on oneof the lines 11 or spaces 12 of the staff 10, and may thereby beemployed to demarcate which natural tone the particular compositionalpiece indicates should be played at any particular time.

Additionally, the staff 10 may be segmented into a plurality of timeperiods called measures 30, where each measure 30 is demarcated by thespace between two bar ends 32. Bar ends or lines 32 are vertical linesthat transect the horizontal lines 11 of the staff 10 separating it intoits various measures or bars 30. As such, the bars 30 divide the musicalpiece into regular groupings of time periods containing beats. A measure30, therefore, represents a period of time that corresponds to aspecific number of beats or intervals during which a note 14 may beplayed or a silence observed.

Each particular note indicator 14, therefore, may be employed not onlyto indicate which natural note of a scale of pitches is to be played,e.g., which pitch is to be sounded, but may also be used as a timereference symbol so as to designate the time period within the measure30 during which that particular note 14 is to be sounded. Accordingly,it is not just where the note indicator 14 is positioned within thestaff 10, but also the type of note indicator 14 is also important.Particularly, the type of note indicator employed 14 within the measure30 is also important for indicating how many counts of time during whichthat note is to be played within the measure. A time signature 15 isalso used so as to indicate which count gets the beat.

For example, a time signature 15 may be used to set forth the rhythm ofthe music. Typically, a time signature is a set of two numbersrepresented as a fraction and set forth in the tablature 2. The twonumbers of the time signature 15 tell a music performer how many times agiven note 14 should be played for each measure 30 of the music. Forinstance, as set forth in FIG. 1, the time signature is represented as a4 over another 4. In such an instance, the number in the top of the timesignature 15 tells the player how many of a given note there are in eachmeasure 30, e.g., the number of times a note 14 may be played within agiven time period, e.g., the beat. The number in the bottom of the timesignature 15 indicates what the count is for the note 14 actually beingplayed, e.g., what the time is within which each beat must occur, andalso signifies which note gets the beat.

Particularly, a note indicator 14 is positioned within the staff 10 on aline 11 or a space 12 thereof so as to indicate which natural pitch isto be sounded, e.g., C, D, E, F, G, A, B, or C′, and the type of noteindicator 14 employed indicates for how long during the time span withinthe measure 30 that note is to be played. Accordingly, a whole noteindicator 14 a indicates that the natural note is to be played for awhole length of a given time, e.g., during the whole measure 30. Ahalf-length note indicator 14 b indicates that the natural note is to beplayed for half of the time as that of a whole note indicator, e.g.,half the length of time of the measure 30. Likewise, a quarter-length 14c, an eighth-length 14 d, and a sixteenth-length 14 e note indicatorindicates the respective notes are to be played for a quarter or aneighth or a sixteenth length of time of the measure. Hence, there arefive typical note indicators 14: a whole note 14 a, a half note 14 b,quarter note 14 c, an eighth note 14 d, and a sixteenth note 14 esymbol, where the type of note indicator 14 indicates the length of timeduring which the note is to be played, and where the note indicator 14is positioned on the staff 10, e.g., upon which line 11 or which space12, indicates which natural note, e.g., C, D, E, F, G, A, B, or C′ is tobe sounded. Keeping in mind, however, that what notes the individuallines 11 and spaces 12 represent depends on which clef 13 is employed soas to give the staff 10 its particular identity.

The staff 10 therefore sets forth the basic foundation upon which themusic of a composition is to be notated, wherein where particular noteindicators 14 are positioned on the staff 10 designates the pitch, e.g.,high or low notes, of the music to be played. Further, the staff 10 maybe broken down into given time periods called measures 30, whichmeasures 30 may be used to set forth the timing of the music to beplayed. For instance, measures 30, consisting of a set of vertical lines32 separated from one another by a space, make up the basic unit of timefor the playing of the musical composition, where each beat isrepresented by a particular time at which a note is to be played or arest observed. Typically, each measure 30 has the same number of beatsin it, and the time signature 15 is included within the staff 10 to showboth the number of beats within the measure 30, and upon which beat anote is to be played or a silence observed.

As noted above, the staff 10 may include additional symbols, such as aclef 13, key signatures, e.g., sharp 16 a or flat 16 b indicators, aswell as breaks, accidentals, codas (all of which are not shown), and thelike. These symbols, along with those described above, dictate thepitch, rhythm, tempo, and articulation of the notes to be played inperforming the musical composition. Particularly, the staff 10 typicallyincludes a clef 13 that defines the pitch range of the particular staffin which it is placed. Because there are only five lines in an ordinarystaff, the clef 13, therefore, functions as a designator to assignindividual notes to the given lines 11 and/or spaces 12 of the staff 10.In such a manner as this, the particular line 11 and space 12 of thestaff 10 can be used to demarcate a variety of different particularnotes within a range of different scales, dependent upon which clef 13is used to gives those lines 11 and spaces 12 identity, such as byassigning a particular note in the scale to a particular line 11 orspace 12.

Further, there are twelve pitches within an octave of notes, whichpitches may include tones and semi-tones, such as where the semi-tonescomprise a sharp 16 a or a flat 16 b of the tonal notes 14. Hence, the12 pitches within an octave may be represented as follows: A, A#, B, C,C#, D, D#, E, F, F#, G, and G#. However, certain of the tones andsemi-tones when played in combination sound harmonic, and others whenplayed together sound disharmonic. Typically, the harmonic notes can beplayed together in a trio of notes termed chords, and dependent uponwhich tones and/or semi-tones are included in the chord arrangement, thechords may be classified as either major or minor chords.

For instance, a musical composition is typically played in a particularkey 16, where a particular note or chord to be played anchors the entirepiece. In such instances, the other notes and/or chords when played insequence, in addition to the anchor, often create a subjective sense oftension within the composition, where as the key notes and/or chordscreate a sense of calm or rest within the piece. Particularly, a majorchord or a minor chord may be used as an anchor for the composition, butwith differing results, such that pieces centered on major chords areoften experienced as sounding relatively happy, and pieces centered onminor chords are often experienced as sounding somber or sad.

To indicate whether a composition is to be played in a major or a minorkey within the tablature, a key signature 16 may be notated after theclef 13 so as to indicate the key for the piece to be played. Forexample, the staff 10 may include sharp 16 a or flat 16 b noteindicators that are positioned on a particular line 11 or in aparticular space 12 of the staff 10 to indicate that such a note is tobe played as a sharp, e.g., a semi-tone above the natural tonal note, ora flat, e.g., a semi-tone below the natural tonal note, of theunderlying natural note so as to produce a major or minor chord,respectively. These symbols 16, therefore, are typically employed wherea particular musical composition is to be played within a given major orminor key.

However, as notated above, there are several problems with theabove-described devices and methods for notating the music to be playedby a given composition. For instance, this tablature 2 is laborious tonotate, difficult to read, and extremely tortuous to follow. Further,there is simply no relationship whatsoever between a given symbol 14 fora note to be played, as indicated in the tablature 2, and what the pitchactually is, e.g., A, B, C, D, E, F, or G, and/or what mechanical actionneeds to be performed so as to sound that note on the instrument beingplayed. In particular, the staff 10 system of the prior art is notintuitive and very tough to translate for one simply reading the music,let alone for one attempting to interpret and then play the music atreal time, such as at a performance.

Particularly, the lines 11 and spaces 12 of the staff 10 can become verydense and convoluted the more difficult the music to be played becomes.The more and mixed the notes to be played, the more varied increases ordecreases in pitch, the rapidity with which the tempo is to be changed,as well as fluctuations in keys, can make the tablature practicallyundecipherable, and this becomes even more complicated when differentclefs are used to indicate which hand plays which notes on theinstrument being played in performing the music. The key signature 16suffers from the same problem in that there is no indicative nature,outside of learning music theory, between how the signature is notatedwithin the staff 10, and how it relates to the type of notes to beplayed that are part of any particular key. Additionally, the use of thesharp 16 a and flat 16 b symbols to indicate which notes are to beplayed as sharps or flats, and thereby set a major or a minor key forthe piece, make the composition, reading, and/or playing of the piecemore complicated and difficult to achieve since the referenced symbolsare not intuitive to decipher, and thus must be memorized in order to beplayed in the parroting fashion required by the archaic tablature 2.

Furthermore, an unintended consequence of the archaic tablature of thepast is that it has become a rigid task master, stifling creativity, byrequiring those playing the musical piece to do so precisely the way itwas written, which is quite the opposite to the original intent of thevarious composers of long ago. From the outset, as originally intendedthe tablature 2 was meant to be a guide setting forth an example of howthe musical piece could be played, and not a unyielding structuredemanding the piece be played strictly in that manner. The old tablature2, however, had no way of conveying that message, and consequently, hasbeen interpreted in the present age as necessitating absolute adherenceto the way it was written and therefore mimicry. Hence, instead ofpromoting individual style and free flowing creativity within thestructure of the music, the current tablature 2 mandates copying andtherefore parroting.

What is needed therefore, and presented herein, is a new way tomemorialize a given piece of music that has been, or is to be, composedthat does away with the archaic staff 10 system and the complex musicalnotation and symbols currently deployed by tablature 2 presently. As canbe seen with respect to the disclosure herein provided and the figuresappended hereto are new devices, systems, and methods of their use thatmakes writing a musical composition less laborious, easier to decipher,and is more intuitive to read and play in that the symbols employed aremore closely related to the instrument and the manner by which thatinstrument is to be played. As such, the devices, systems, and methodsherein disclosed are useful in helping persons desirous to learn tocompose, read, and play music.

Accordingly, in a first aspect, as can be seen with respect to FIG. 2A,a new musical tablature 102 is provided for use in the composing,notating, reading, and the playing of music. In its most basic form, adevice of the disclosure includes a substrate 100. As indicated above,the substrate 100 may be composed of any suitable medium capable ofreceiving one or more demarcations representative of musical symbols foruse in the notating, composing, arranging, and/or playing of a musicalcomposition. For instance, the substrate may be a physical member andinclude a metal, an organic product, such as wood, flax, polyester,paper, cardboard, a glass, a plastic, a rubberized material, a slate, achalkboard, white board, a TV screen, a computer monitor, or otherdisplay screen, such as that of a mobile computing device, laptopcomputer, tablet, mini-computing device, and the like. In otherinstances, the substrate may be a representational member, and thereforemay include a graphical representation, such as via computer coding, soas to be displayed on a display screen, such as a CRD, plasma, LCD, LED,OLED, or other capacitive sensing, touch screen display device.

Accordingly, the substrate 100 may have a length and a width and/orthickness, such as to be present in three-dimensional space or to be atleast represented in three dimensional space; and in some instances, thesubstrate 100 may simply include a length or a width, such as whenrepresented in two-dimensional space, such as when represented as one ormore figures, such as on a computer generated media and/or a displayscreen associated with the same. Particularly, in various instances, thesubstrate 100 may have a proximate portion, bounded by a top edge, adistal portion bounded by a distal edge, as well as a plurality of sideportions having a left-side edge and a right-side edge. In certaininstances, the substrate may have a first, front surface and a second,back surface.

As indicated, a template 102 may be generated and/or positioned on orotherwise represented within the substrate 100. In various instances,the template 102 may be configured such that one or more symbolscharacterizing the music to be composed and/or read and/or played may benotated thereon or therein. Accordingly, for such purposes, the template102 may include a plurality of pairs of bar lines 132, which bar lines132 may be employed for demarcating a measure 130 of the music to becomposed and/or played as well as used for receiving one or more notedesignators (not shown) for characterizing the pitches of the notes tobe played.

For instance, a template 102 of the disclosure may be positioned uponthe substrate 100, and may include a symbol 132 for indicating where themusic notation is to begin and/or end. Any symbol may be used so long asit is capable of demarcating a beginning and/or an end of a musicalcomposition or a portion, e.g., a time period 130, thereof. For example,in a particular embodiment, the symbol 132 may be configured as a line,such as a line 132 a positioned toward a right hand side of thesubstrate 100. In such an instance, the line 132 a may form a bar lineindicating where the music notation is to begin. Further, in variousinstances, the template 102 may additionally include a second symbolthat is also configured as a line, such as line 132 b, positioned towarda left hand side of the substrate 100. In such an instance, the line 132b may form a bar line indicating where the music notation is to end.Hence, on one or more sides of these bar lines, 132 a and/or 132 b, themusic to be composed and/or played may be notated.

Accordingly, in various instances, the template 102 may be positionedhorizontally, running from left to right across the template. However,in other instances, the template 102 may include a plurality of pairs ofbar lines 132 a and 132 b and the like such as positioned vertically,running from top to bottom along the substrate 100. In variousinstances, the template 102 may be configured such that the bar lines132 and/or the note designators (not shown) there between may beconfigured to move across and/or down the template 102. In certaininstances, a template 102 may not need to be employed, rather, thesubstrate 100 may perform the function of the template 102.

Hence, in various implementations, a device containing or otherwisecomposed of a substrate 100 upon which music is to be or has beennotated is provided. Any suitable substrate may be used so long as it iscapable of receiving and/or displaying a symbolic representation of thetemplate 102 and/or one or more representations of a musical character,such as a note indicator 114 (not shown) to be positioned on thesubstrate 100, and/or within the template 102. In various embodiments,the substrate 100 will have an elongated body having a proximal portionincluding a proximal end, a distal portion including a distal end, and amedial portion separating the proximal portion from the distal portion.The elongated body may be planar and include a circumference thatsurrounds the perimeter of the elongated body, such as where theperimeter may include a left hand side, a right hand side, a topside,and a bottom side.

As indicated, in particular instances, one or more, e.g., a plurality ofmusic symbols, as described herein, may be employed to notate on orwithin the template 102 the various characters of the music to beplayed. For instance, the substrate 100 may include a template 102,wherein the template 102 includes a plurality of bar lines 132 a and 132b, such as where the second bar line 132 b is offset from the first barline 132 a, by a space, which space represents a measure 130 for themusic to be composed and/or played. Particularly, the first 132 a andsecond 132 b bar lines may be adapted to demarcate a measure 130 for themusic, such as where the measure 130 is configured so as to representthe amount of time that governs the timing and/or beat of the music tobe or being played. Hence, in various instances, the plurality of barlines, e.g., 132 a and 132 b, may be positioned on the substrate 100 andwith respect to each other so as to be equidistantly separated from oneanother, such as by the length of space 130, such as where the length ofspace 130 demarcates the measure for the composition to be played. Moreparticularly, the measure 130, e.g., the length of the space between thebar lines 132 a and 132 b is determined by a number of beatscorresponding to a count for the musical composition, such as where eachcount may be a standard measure of time.

In certain instances, as can be seen with respect to FIG. 2B, thetemplate 102 may include a plurality of sets of bar lines, e.g., 132 a,132 b, 132 c, 132 d, and 132 e, each demarcating a measure between thebar lines, such as measures 130 a, 130 b, 130 c, and 130 d. In suchinstances, the template 102 may include a plurality of bar lines 132arranged in such a manner as to demarcate a plurality of measures 130.Further, as indicated above, one or more note designators 114 (notshown) may be positioned proximate one or more of the bar lines 132,e.g., arranged between the two bar ends, in a manner so as to designateone or both of the particular pitch of a scale of pitches within anoctave to be played, and/or to designate the length of time, such aswithin the measure, that note is to be played for.

Hence, the substrate 100 may include a template 102, which template 102may be composed of a multiplicity of bar lines 132 separated one fromthe other by a plurality of measures 130, and as such may be employed tonotate the music of a composition to be played, such as by populatingthe template 102 with one or more symbols, as described herein, whichsymbols may be selected so as to more intuitively symbolize anddemarcate one or more of a melody and/or an embellishment characterizingthe music to be played. Thus, where traditional musical notationrequires the use of a complex system of symbols and a graph framework oflines and spaces, i.e., the archaic staff of FIG. 1, which has norelation to the actual notes in the scale to be played, the presentnotation system employs easy to understand alphanumeric symbols, images,avatars, cartoons, and/or sizes and/or colors to indicate the pitch tobe sounded and/or the duration of the sounding.

For instance, as can be seen with respect to FIG. 3A, a table ispresented wherein in the left hand column the traditional symbol 14 fordesignating the duration of the note to be played (where its position onthe staff in combination with the clef indicates the actual character ofthe pitch to be played) is set forth; and in the right hand column anexemplary note designator 114 as employed in the present devices,systems, and methods is set forth. As can be seen, in an exemplaryembodiment, a letter from the Phoenician alphabet, e.g., an A, B, C, D,E, F, and G is employed to designate the character of the pitch to beplayed 114, whereas the relative size of the letter 114 indicates thetime signature, e.g., the duration during which the note is to beplayed.

More particularly, in the left hand column, the traditional symbols 14used as note designators are set forth wherein the symbols include awhole note designator 14 a, a half note designator 14 b, a quarter notedesignator 14 c, an eighth note designator 14 d, and a sixteenth notedesignator 14 e. Further, in the right hand column, the exemplarysymbols showing their relative sizes as employed as note designators114, within the present disclosure, are set forth wherein the symbolsinclude a whole note designator 114 a, a half note designator 114 b, aquarter note designator 114 c, an eighth note designator 114 d, and asixteenth note designator 14 e.

In such an instance, the whole note designator 114 a has a larger sizethan the half note designator 114 b, which half note designator 114 bhas a larger size than the quarter note designator 114 c, the quarternote designator 114 c has a larger size than the eighth note designator114 d, and the eighth note designator 114 d has a larger size than thesixteenth note designator 14 e, although the reverse size orientationmay be employed. It is to be noted that the eighth 114 d and thesixteenth 114 e note designator may not only be demarcated by a sizedifference, e.g., smaller and smaller, but may further be distinguishedfrom one another by one or more hash marks, such as set forth below thenote designator 114. Furthermore, a thirty-second and/or a sixty-fourthnote designator (not shown) may be indicated in the same manner, such asby even smaller sizes and/or with additional hash marks demarcated thereunder, and so on for increasing smaller measures of time. Additionally,as indicated above, a typical musical instrument may be configured forsounding pitches from several different octaves, and as such the musicalnotation can correspondingly be adapted to demarcate these differentoctaves, such as by representing the note designators, for instance, bydifferent colors, where all the note designators from one octave arecomprised of a first color, those of a second set of eight tones andfive semi-tones making a second octave are comprised of a second color,those of a third octave are comprised of a third color, those of afourth are comprised of a fourth color, those of a fifth are comprisedof a fifth color, those of a sixth are comprised of a sixth color, so onand so forth. Of course, in various instances, various different colorsand color patterns may be used, and in some instances, not all octavesneed be represented by different colors as the colors can repeat, suchas sequentially, where every other octave shares the same color, orevery third, or every fourth octave in a set of octaves shares the samecolor schema or pattern.

Notes in a scale to be played have been referenced in common parlance byletters in the Phoenician alphabet, i.e., A, B, C, D, E, F, and G, so asto designate given pitches having harmonic vibrations that form arepeating scale. Nevertheless, such notes have traditionally beennotated in the composing and playing of music using the staff system 10and note designators 14 as set forth in FIGS. 1 and 3A, so as torepresent sounds of particular harmonic pitches within the octave. Asindicated above, the use of such archaic symbols 14 are in no wayintuitive and are difficult to remember and employ in the composing andplaying of music, making it difficult for those of the modern times tolearn to play and/or endeavor to compose music. The present tablature102, however, as well as the various symbols represented therein,present a solution to these and other such problems in that they employthe very letters that have hereto for been employed in common usage torefer to the various notes in an octave of pitches, i.e., A, B, C, D, E,F, and G. The substitution of these letters 114 for the archaic symbols14 of the ancient tablature 2 makes the present notation system 102easier to use and more intuitive than the primeval tablature 2 of thepast.

Further, as indicated in greater detail below, in certain instances, theletters A, B, C, D, E, F, and G, representative of the pitches thatvibrate at various designated frequencies, may in some instances, berepresented within a template 102 as words or images of persons, places,things, and/or objects, such as cartoon figures or avatars, that areknown or named with words that begin with the letter of the alphabetused to represent the designated pitches. Hence, an A note may bedesignated with the image of an Apple, and the like; a B note may bedesignated with the image of a Banana, and the like; a C note may bedesignated with the image of a Carrot, and the like; a D note may bedesignated with the image of a Diamond, and the like; an E note may bedesignated with the image of an Elephant, and the like; an F note may bedesignated with the image of a Fairy, and the like; and a G note may bedesignated with the image of a Gorilla, and the like.

Hence, the present devices, systems, and methods, as herein disclosed doaway with the old staff 10 system of lines and spaces designating thepitch of the note, as well as doing away with the traditional notesymbols 14 that bear no relation whatsoever between the symbol used andthe pitch to be sounded. Additionally, as a traditional staff 10 is notused, there is no need to use a clef 13 as a method for interpretingwhat the staff 10 actually means. Further, as explained below, as atraditional staff 10 is not employed, there is also no reason to use theold sharp and flat symbols 16 to represent the various semi-tones of theoctave. Hence, the present system herein presented is less complicatedto notate and easier to read, making the teaching and playing of musicmore simplistic and natural. Furthermore, it is to be noted that othersymbols or images can be used as note designators 114, such as lettersfrom other language systems not employing the Phoenician alphabet, aswell as cartoon characters, avatars, and other images.

As can be seen with respect to FIG. 3B, an exemplary template 102 of thedisclosure is presented. The template 102, in this instance, includes aplurality of bar ends 132, such as bar lines 132 a, 132 b, 132 c, 132 d,132 e, 132 f, 132 g, and 132 e that are each spaced an equal distanceaway from one another so as to form a plurality of measures 130 a, 130b, 130 c, 130 d, 130 e, 130 f, and 130 g where each measure equates to aperiod of time equivalent to one or more counts of music. As indicated,the bar ends 132 may be of any shape and size, and as depicted in FIG.3B, the bar ends 132 are comprised of lines that extend upwards anddownwards, such as from a top portion of the substrate 100 to the bottomportion of the substrate 100, such as in a parallel configuration.However, in various instances, bar ends 132 may be comprised of linesthat extend from a leftward to a rightward side of the substrate 100,such as from a left hand side portion to the right hand side portion ofthe substrate 100, such as in a horizontal configuration.

In this instance, each measure 130 includes a note designator 114, whichmay be used to represent one or more of a pitch of a note within one ofa set of octaves or a silence, e.g., a rest in the absence of a note tobe played, where each octave includes a number of notes in a scale ofpitches. In this particular instance, the note designator 114 isrepresented as the symbol “C.” Particularly, the symbol “C” as employedherein is used to symbolize a pitch within a particular octave oroctaves that are commonly referenced as the C note in the Westernmusical scale, which note has the respective sound that vibrates at afrequency equivalent to that pitch. However, although depicted herein asthe pitch symbolized by the “C” note, it is understood that othersymbols, images, cartoons, avatars, or the like can be used as areferent for this and/or other notes, and/or other pitches may bedesignated within this template 102, such as between the bar lines 132,so as to designate notes having other known pitches, such as A, B, D, E,F, and G. Accordingly, although a “C” note is designated herein forexemplary purposes, notes of other pitches may be referred to, such asby note designators A, B, D, E, F, and G and the like.

Hence, as exemplified, the tablature 102 may include one or a pluralityof note designators 114, such as between pluralities of barlines 132, soas to designate which pitches of the octave are to be sounded orotherwise played within the given measure 130. In various instances, thenote designator 114 may have a relative size, a relative color or colorscheme, and/or a number associated with the note designator 114, such asto designate by which finger a given note designated within the templatemay be played. In such an instance, the size of the note designator 114may define or otherwise determine one or more of the following: therelative length of time during which the pitch of the note is to beplayed and/or the time signature for the pitch to be played. Forinstance, as shown, the note designators 114 a, 114 b, 114 c, 114 d, 114e, 114 f, and 114 g all designating the “C” note, have differing sizesand are set forth between the measures 130 in decreasing order of size,where the larger the size indicates the longer the period of time duringwhich the note is to be sounded.

Further, in various instances, the number of note designators 114 withina given measure 130 may be used to signify which note gets the beat. Insome instances, the relative size and/or one or more hash marks may beused, e.g., in combination with the size and/or number of notedesignators 114 used, to indicate the same. Particularly, in suchinstances, the number and/or size of the symbols between the bar ends132 may be equivalent to the number of beats corresponding to thecount(s) for the musical composition, such as where each count may be astandard measure of time. Accordingly, the identity and/or character ofthe note designator, e.g., “C”, indicates which pitch is to be sounded,such as a pitch demarcated by a frequency represented by a C, D, E, F,G, A, B, or C′ note, and the relative size of the note designator 114indicates the length of time during which that particular note is to besounded or played within the measure.

In this instance, the largest relative size note designator 114 aindicates that the respective “C” pitch is to be held for the length ofthe whole measure 130 a, which in a 4 count measure would mean that the“C” note is to be sounded, played, or otherwise held for four beats,e.g., the “C” note is to be played once and held for the entire lengthof the measure 130 a. The second largest relative size note designator114 b indicates that the respective “C” pitch is to be held for half thelength of the measure 130 b, which in a 4 count measure would mean thatthe “C” note is to be played for two beats. Hence, in this instance,since two half-note “C” designators are set forth within the measure 130b, this indicates that there are two “C” pitches that are to be soundedwithin the measure each for half the length of the measure 30 b, suchthat the two “C” notes when played sequentially take up the entirelength of time of the measure, such as where each “C” note is played andlasts for two beats. The third largest relative size note designator 114c indicates that the respective pitch demarcated by the “C” note is tobe held for a quarter the length of the measure 130 c, which in a 4count measure would mean that the note is to be played for one beat. Inthis instance, four quarter-note “C” designators are set forth withinthe measure 130 c to indicate that there are four “C” pitches that areto be sounded within the measure each for a quarter of the length of themeasure 130 c, e.g., one note per beat. The fourth largest relative sizenote designator 114 d indicates that the respective pitch is to be heldfor an eighth the length of the measure 130 d, which in a 4 countmeasure would mean that the note is to be played for half of a beat.Likewise, in this instance, since eight eighth-note “C” designators areset forth within the measure 130 d to indicate that there are eight “C”pitches that are to be sounded within the measure each for an eighth thelength of the measure 130 d.

The fifth largest relative size note designator 114 e indicates that therespective pitch is to be held for a sixteenth the length of the measure130 e, which in a 4 count measure would mean that the note is to beplayed for 1/16^(th) of a beat. In this particular instance, only onenote designator 114 is included, but in other instances, up to sixteennote designators can be included, where each represent the respectivenote is to be held for 1/16^(th) the length of the measure. In such aninstance as this, to better identify the difference in size, this fifthnote designator 114 e may be represented along with a hash markunderneath it, so as to clearly distinguish it from the other notedesignators 114 a-114 d. Hence, in various embodiments, one or moreadditional symbols, e.g., hash marks, may be included along with thenote designator 114 so as to distinguish among various differing notesto be notated and/or played for varying lengths of time. For instance,the sixth note designator 114 f, which may be the same size as any ofthe other note designators or a different size, e.g., smaller, indicatesthat the respective pitch is to be held for a thirty-second length ofthe measure 30 f, which in a 4 count measure would mean that the note isto be played for a 1/32nd of a beat. As above, this note designator 114f may be represented along with a plurality of, e.g., 2, hash marksunderneath it, so as to distinguish it amongst all the other variousnote designators 114 to be used for notating the music and/or played.Further, a seventh note designator 114 g may be represented along with aplurality of, e.g., 3, hash marks underneath it, so as to distinguish itamongst all the other various note designators and may be used toindicate that the respective pitch of the note to be held is for asixty-fourth length of the measure 130 g, which in a 4 count measurewould mean that the note is to be played for a 1/64^(th) of a beat. Insuch instances, additional note indicators and/or silences may beincluded within the measure so as to indicate what is to be done withthe remaining time of the measure, such as what further notes are to beplayed and/or silences maintained.

Additionally, as indicated above, music may be produced by the pluckingof weighted strings of given lengths that cause them to vibrate at agiven frequency and/or music may be produced by the vibrations caused byair passing through one or more orifices, which in either case resultsin the sounding of a note having a corresponding pitch. The differentpitches may be produced by the strings having different weights, theorifices having different diameters, and/or the different lengths of thestrings plucked and/or lengths between the various orifices, such aswithin an instrument. These pitches can be grouped into scales ofascending notes that form a harmony.

As the sounds produced are a result of string weight, opening diameter,and/or the various lengths involved, a doubling or halving of the weightor length will result in the same note being sounded but at a higher orlower pitch. As it turns out, there are eight notes that in ascendingorder form on octave of pitches, and when the weight or length of thestring being plucked or the orifice being opened is increased ordecreased proportionately, these scales can be reproduced at higher orlower pitch ranges. There are, therefore, several scales of octaves ofnotes all having corresponding pitch ranges. In the present system,therefore, notes to be played or sounded may belong to differentoctaves, where each octave is represented differently and distinguishedone from another in various different ways, such as by different colorsor color schemes. In such an instance, the various different noteindicators 114 may be demarcated in various different manners, such assize, so as to indicate the length of time during which the pitch is tobe sounded, which in other instances, may be demarcated by size and/orby the movement of the note indicator 114, such as when representedelectronically, such as where the motion indicates for how long the noteis to be played. Such note designators 114 may be demarcated such as bydifferent colors, markings, configurations, and the like.

Accordingly, in various instances, the color or color scheme of the notedesignator 114 may define or otherwise determine to which set of octavesthe particular note designator belongs. For instance, a typical musicalinstrument may be configured for playing a multiplicity of notes along amultiplicity of octaves such as over one or more scales of pitches. Itis to be noted, that pitches are produced by vibrations of variousfrequencies, and as such can typically be produced by the striking ofstrings, by the vibrations within the vocal chords as air is passed overthem, or through air escaping from an orifice or hole in a tube ofdifferent lengths, etc.

The tablature of the present disclosure may, therefore, be adapted toindicate which octave out of a multiplicity of octaves a particular notedesignator corresponds to, and may be useful regardless of how thatsound is produced, e.g., plucking, singing, or blowing. As is known inthe art, there may be one, two, three, four, five, six, or more octaves,and thus, the notation can be employed so as to differentially representnotes from these different octaves. In such an instance, the tablature102 may be configured to signify a difference between octaves and/or thepitches thereof. For example, the pitches of different octaves may bedifferentiated by being represented in various different colors. Anysuitable color may be used to demarcate the different octaves, such asred, orange, yellow, green, blue, indigo, violet and combinationsthereof, such as where different colors represent different octaves fromwhich the notes may be derived.

Additionally, in various instances, the symbol for the note designator114 may include a letter, as noted above, and in some instances mayinclude a numeric symbol such as a number. For instance, as describedabove, the pitch of a musical note within an octave may be a naturaltone or a semitone, e.g., a sharp or a flat, which vibrates at aparticular frequency. The present devices, systems, and methods hereinpresented accounts for this by using different symbols to represent anddistinguish between natural notes and their corresponding semi-tones.

For example, the natural notes may be represented by letters. In such aninstance, the letter may be any letter, but in various instances, theletter may be selected from a group representative of Western musicdenotation, such as an A, B, C, D, E, F, and G, or a foreign languagetranslation of such letters, for instance, where the letter represents acorresponding musical note, such as a whole note or natural tone havingthe designated pitch within a given octave of pitches. However, thevarious semi-tones, e.g., the sharps and/or flats of the natural noteswithin the octave, may be represented by numbers. In such an instance,the number may be any number, but in various instances, the number maybe selected from a group representative of Arabic numerals, such as a 1,2, 3, 4, and 5, and the like. Hence, within the present system, thenatural notes or tones may be represented by letters, and their flats orsharps, e.g., their respective semi-tones, may be demarcated by numbers.Further, as indicated, these various pitches, e.g., tones and/orsemitones, may belong to one or more octaves of pitches, which octavesmay be distinguished from one another by being represented by differingcolors and/or color schemes.

Furthermore, as indicated above, in various embodiments, the relativesize of the note designator 114 may define and/or otherwise determinethe length of relative time during which the pitch, e.g., the tone orsemitone, is to be sounded and/or otherwise played. In such instances, aplurality of note designators 114 may be included, such as within themeasure 130, wherein the number of note designators 114 present withinthe measure may define and/or determine which notes and/or pitches getthe beat and when. For instance, in one particular embodiment, therelative size of the note designator determines the time signature forthe note to be played, such as where the time signature for the note tobe played represents the number of times and/or beats and/or countsduring which the corresponding pitch is to be sounded during the measure130, and/or the presence of two or more note designators 114 indicateswhich notes gets the beat and when.

Particularly, as set forth above, the relative size of the notedesignator includes a size range, e.g., ranging from a large or largestsize to a small or smallest size, such as where the larger the size thelonger the duration of time the note is to be played, and likewise thesmaller the size the shorter duration of time the pitch is to be played.Consequently, the size range may include a size selected from one ormore of the following: largest size, larger size, large size, mediumsize, small size, smaller size, and smallest size. Hence, in someparticular embodiments, the relative size of the note designator 114,e.g., of a tone or semitone, represents the time signature, which timesignature may be representative of a member selected from the groupconsisting of a whole note 114 a, a half note 114 b, a quarter note 114c, an eighth note 114 d, a sixteenth note 114 e, a thirty-second note114 f, a sixty-fourth note 114 g, and/or the like. Specifically, in someparticular embodiments, the largest size of the note designator 114 acomprises a whole note, the larger size of the note designator 114 bcomprises a half note, the large size of the note designator 114 ccomprises a quarter note, the medium size of the note designator 114 dcomprises an eighth note, the small size of the note designator 114 ecomprises a sixteenth note, the smaller size of the note designator 114f comprises a thirty-second note, and the smallest size of the notedesignator 114 g comprises a sixty-fourth note, as explained above.

It is understood that the number of notes to be played within a measure130 may not be equal to the number of counts within that measure 130.Hence, a measure 130 may not only include a note designator 114 but mayinclude one or more rests or silence indicators 119. For instance, FIG.3C sets forth symbols that in the present devices, systems, and methods,may be employed as rests or silences, such as to indicate when a note isnot to be played during one or more counts of a measure. Any symbol maybe used to indicate a silence or a rest, but in this instance, thesilences 119 are depicted as round circles of differing sizes, whereinthe size, color, markings, configuration, and/or movement of the circlerepresenting the silence demarcates the length of time during themeasure 130 the silence is to be maintained. As indicated above,although the silences are represented with respect to FIG. 3C ascircles, they may be any suitable symbol or image to demarcate a silenceor rest in the absence of a note to be played within a measure, such asa whole moon, a half moon, a quarter moon, stars, a night time and/orsleep image, and the like.

For example, the symbol, e.g., circle 119 a, set forth in measure 130 adepicts a whole rest, which whole rest 119 a indicates a silence that isto be maintained during the whole length of time during the measure 130a. Likewise, the two symbols, e.g., circles 119 b, set forth in measure130 b depict two half-rests, which half-rests 119 b indicate a silencethat is to be maintained during half the length of time during themeasure 30 b. In this instance, two half-rests 119 b are present, whichmeans the silence is to be held for the whole length of the measure.Hence, two half rests 119 b equate to one whole rest 119 a.

Additionally, the four symbols, e.g., circles 119 c, set forth inmeasure 130 c depict four quarter rests, which quarter rests 119 cindicate a silence that is to be maintained during a quarter of thelength of time during the measure 130 c. In this instance, four quarterrests 119 c are present, which means the silence is to be held for thewhole length of the measure. Hence, four quarter rests 119 c equal twohalf rests 119 b, which equate to one whole rest 119 a. Likewise, thesymbols, e.g., circles 119 d, set forth in measure 130 d depicts aneighth rest, which eighth rest 119 d indicates a silence that is to bemaintained during an eighth amount of time during the measure 130 d. Inthis instance, eight eighth rests 119 d are present, which means thesilence is to be held for the whole length of the measure. Hence, eighteighth rests 119 d equal four quarter rests 119 c, which in turn equaltwo half rests 119 b, which equate to one whole rest 119 a.

As can be seen with respect to FIG. 3C, the symbol, e.g., circle,representing the whole rests 119 a is larger than that of the half-rests119 b, which in turn is larger than that of the quarter-rest 119 c, andthe quarter rest 119 c is larger than that of the eighth rest 119 d.Accordingly, in these instances, these rest symbols may differ from oneanother as to one or both of size and number. For instance, a sixteenthrest 119 e, a thirty-second rest 119 f, and/or a sixty-fourth rest 119 gmay also be used to demarcate rests of corresponding lengths of timeduring the measure 130. Hence, various rests demarcating differentincrements of time periods may be used to indicate an absence of a noteto be played, e.g., a silence maintained, where the various silenceindicators may be differentiated from one another such as by increasingnumber and/or decreasing size to signify the differing length of timethose respective rests are to be maintained. However, in this instance,the size and shape of the symbol for the sixteenth rest 119 e,thirty-second rest 119 f, and/or sixty-fourth rest 119 g, are the sameas that for the eighth rest 119 d, however with one or more underscoresdemarcating the differentiation between these various rest symbols.

Particularly, the symbol, e.g., circle 119 e, set forth in measure 130e, depicts a sixteenth-rest, which sixteenth-rest 119 e indicates asilence that is to be maintained during a sixteenth the amount of timeduring the measure 130 e. Further, the symbol, e.g., circle 119 f, setforth in measure 130 f depicts a thirty-second rest, which thirtysecond-rest 119 f indicates a silence that is to be maintained during athirty-second the amount of time during the measure 130 f. And thesymbol, e.g., circle 119 g, set forth in measure 130 g depicts asixty-fourth rest, which sixty-fourth rest 119 g indicates a silencethat is to be maintained during a sixty-fourth the amount of time duringthe measure 130 g. It is noted that the rest symbols 119 e, 119 f, and119 g have the same shape and size and are differentiated by theincreasing number of hash marks underneath them, respectively.

Accordingly, like the symbols 114, the symbols 119 generally can bevaried from one another in a number of different ways, such as byshapes, sizes, colors, quantities, qualities, markings, and other suchconfigurations. However, in this instance, the symbols 119 e, 119 f, and119 g, are all represented by a circle, which circle is the same withrespect to size and shape, however differ from one another by includingone or more hash marks. For example, symbol 119 e, indicating asixteenth rest, is demarcated by including a single hash mark beneaththe circle. Likewise, symbol 119 f, indicating a thirty-second rest, isdemarcated by including a plurality of, e.g., two, hash marks beneaththe circle. Further, symbol 119 g, indicating a sixty-fourth rest, isdemarcated by including a plurality of, e.g., three, hash marks beneathcircle. Any number of hash marks may be used to distinguish the varioussymbols one from another, along with size, shape, coloring,configuration, and the like.

Nevertheless, it is to be understood that although the depicted restsare configured as circles, other shapes, such as triangles, pyramids,squares, rectangles, cubes, pentagons, hexagons, octagons, and the like.Likewise, one or more symbols as herein disclosed may be used toindicate a plurality of rests, such as where the rest symbols aredifferentiated by the number of symbols employed and/or by including oneor more additional markings, such as one or more underscores under thesymbol, such as depicted as 119 e, 119 f, and 119 g. Hence, such symbolscan differ by number, size, and/or the inclusion of additional markingsso as to be distinguishably different from the other symbols demarcatedabove. In some instances, various of the symbols may be the same withrespect to each other, e.g., with reference to size, number, colorand/or shape, albeit differ from one another with respect to additionalother markings, configurations, or movements, or all such symbols may bedifferent from one another, or grouped with respect to thesecharacteristics in a different manner than as set forth herein.

As described above, the musical scale is made up of natural notes ortones, arranged in an ascending order of pitches that form octaves. Themovement from one pitch to another within an octave constitutes a wholestep, and because the notes from one pitch to another are consonant,they form tones. However, in some instances, movement from one pitch toanother may be made in half-steps, which half-steps form notes that areonly semi-tonal, or semi-tones. Such whole steps, therefore, make up themajor notes of the scale, e.g., C, D, E, F, G, A, B, C′, while halfsteps make up the semi-tones that are the sharps and flats of thesemajor notes, such as Csharp/Dflat, Dsharp/Eflat, Fsharp/Gflat,Gsharp/Aflat, and Asharp/Bflat. For instance, in typical musicalnotation, a sharp means higher in pitch by a semitone (half-step), and aflat means lower in pitch by a semitone. Of course, as indicated above,higher in pitch by a half step above a first whole note, is lower inpitch by a half step of the next second whole note.

However, as described above with respect to FIG. 1, the manner in whichthe archaic tablature 2 of the prior art made reference to the playingof these semitonal notes is not intuitive, is very confusing tounderstand, is hard to interpret, and even harder to employ whencomposing and/or playing music. Particularly, in the ancient tablature 2the pitches 14 of a composition, representative of the natural notes,are indicated by where the natural note symbol 14 is positioned on thestaff 10, e.g., within the lines 11 or spaces 12 thereof. However, forthe semi-tone notes, represented by sharp and/or a flat symbols 16 a and16 b, respectively, such semi-tone notes are typically notated byplacing the sharp 16 a or flat 16 b symbol on the staff 10 next to theclef 13 and in front of the natural notes 14, which they modify. Thesesharp 16 a and flat 16 b indicators would then form the key signaturethat defines the prevailing major or minor key of the piece. As such,the sharp 16 a or flat 16 b indicator functioned to indicate which notes14 were to be played higher, e.g., as a sharp, or lower, e.g., as aflat, than their corresponding natural notes. Accordingly, a sharpsymbol 16 a on a line 11 or within a space 12 between the lines in thekey signature raises the particular note 14 that would otherwise beindicated by that line 11 or space 12 one semitone above the natural,and a flat lowers such indicated notes one semitone. As one wouldexpect, such key signatures 16 are difficult to use, complex to figureout, and challenging to apply consistently when composing, reading,and/or playing music.

The present devices, systems, and methods employ symbols and symbolplacements that are configured so as to simplify their use,interpretation, and application in the composing, reading, and/orplaying of music in a consistent manner. FIG. 3D sets forth a table ofkey signatures 16 as employed in the prior art, in the left hand side ofthe table, and the key signatures 116 as presently employed in the righthand side of the table. As can be seen, the sharp 116 a and flat 116 bsymbols of the archaic tablature 2 are not widely known or used outsideof musical notation, or known and used for other purposes, thus makingtheir use in musical notation non-intuitive and confusing. Further, tomake matters worse, their placement within the archaic tablature 2 so asto indicate which notes are to be modified so as to be played as sharpsor flats makes their implementation difficult in both the reading andplaying of music.

As can be seen with respect to FIG. 3D, the present devices, systems,and methods of using the same employ key signature symbols 116, e.g.,numbers, that are easier to use then their archaic counterparts, simpleto understand, and can be applied consistently and intuitively whencomposing, reading, and composing music. For instance, instead of usingsuch archaic sharp and flat symbols 16, which are only notated at thevery beginning of the musical composition, and must be rememberedthrough out the playing of the music, the present symbols employnumbers, or other easily recognizable images or avatars 116, forindicating the sharps and flats, reflective of the semitones, asimplemented in the present system. Particularly, in particularembodiments, key signatures representing sharps and flats as employed inthe present system are numbers, such as the numbers 1, 2, 3, 4, 5, etc.

Further, as noted, within the present system such key signatures 116double as note indicators as well, indicating which note or key on aparticular instrument is to be played. Hence, key signatures 116additionally represent sharp and/or flat semitone notes to be played ina musical composition. For example, in various instances, where in thearchaic tablature 2 a Csharp/Dflat may be indicated, within the presentsystem such semitones may be demarcated by the number 1. Likewise, wherethe archaic tablature 2 indicates a Dsharp/Eflat, within the presentsystem such semitones may be demarcated by the number 2. Where thearchaic tablature 2 indicates a Fsharp/Gflat, within the present systemsuch semi-tones may be demarcated by the number 3. Additionally, where aGsharp/Aflat is indicated, within the present system such semi-tones maybe demarcated by the number 4. And where an Asharp/Bflat is to benotated, within the present system such semi-tones may be demarcated bythe number 5. Furthermore, where the various semitones to be notated arefrom different octaves of the overall scale, the various numbers may bedifferentiated from one another by being comprised of different colors.Hence, each octave within a set of octaves may be represented bydifferent colors, wherein the note designators 114 and/or 116 are eachrepresented by the color that is indicative of the scale of pitches fromwhich they are derived.

More particularly, in a typical music scale, an octave may be dividedinto twelve semitones including the eight tonal natural notes of theoctave, as well as the additional five notes consisting of varioussharps and flats. Consequently, there are fifteen possible sharp and/orflat key signatures: up to seven sharps, up to seven flats, or no sharpsor flats, which in the present system may be symbolized as numbers,e.g., 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, etc.Additionally, it is to be noted that although the key signatures and/ornote designators 116 employed herein are numbers, any suitable symbolmay be used to indicate a semi-tone key signature/note designatorincluding a number, shape, image, avatar, cartoon, and the like, whichsymbols may be the same or may be of differing sizes, wherein the size,color, markings, configuration, and/or movement of the symbol representthe length of time during the measure 130 the semi-tone 116 is to bemaintained. In such instances, the number of symbols between the barends 132 may be equivalent to the number of beats corresponding to thecount(s) for the musical composition, such as where each count may be astandard measure of time and the size of the symbol or movement thereofmay be indicative of the relative length of time during the measure thetone or semitone is to be held for, as described above with respect tothe whole tonal notes 114.

Additionally, as can be seen with respect to FIG. 4A, a representationof another template 202A of the disclosure is provided. In thisinstance, the template 202A includes a depiction of an octave 260 a of akeyboard 1000 piano (not shown). Although a keyboard 1000 of a piano isdepicted, it is understood that this is for exemplary purposes only andthat the disclosed devices, systems, and methods are applicable to anysuitable musical instrument, such as a piano, keyboard, electrickeyboard, harpsichord, harp, dulcimer, guitar, electric guitar or bass,bass, cello, violin, flute, clarinet, bassoon, and other such stringand/or wind instruments. Accordingly, the template 202A includes arepresentation of the white keys 240 as well as the black keys 250associated with the keyboard 1000 of a piano.

However, in other instances, the template 202 may be configured torepresent any suitable instruments, as noted above. In this instance, itbecomes clear just how intuitive the present devices, systems, andmethods are. In this system, the individual white keys 240 of therepresentation of the keyboard, e.g., of piano 1000, each demarcate anote 114 of an octave 160 a. Particularly, white key 241 a isrepresentative of a “C” note, white key 242 a is representative of a “D”note, white key 243 a is representative of an “E” note, white key 244 ais representative of a “F” note, white key 245 a is representative of a“G” note, white key 246 a is representative of an “A” note, white key247 a is representative of a “B” note, and white key 241 b isrepresentative of a “C” note of the next octave 260 b. Likewise, theindividual black keys 250 of the representation of the piano keyboard1000 each demarcate a note 119 of the octave 260 a. Particularly, blackkey 251 a is representative of a “Csharp/Dflat” note, key 252 a isrepresentative of a “Dsharp/Eflat” note, key 253 a is representative ofan “Fsharp/Gflat” note, key 254 a is representative of a “Gsharp/Aflat”note, and key 155 a is representative of an “Asharp/Bflat” note.

Hence, as can be seen with respect to FIG. 4A, the white keys 240 of thepiano 1000, or at least a representation thereof, may be demarcated withthe symbols 114, e.g., letters, representative of the notes having thecorresponding pitches, e.g., C, D, E, F, G, A, and B, that are soundedwhen those keys 240 are depressed or otherwise played. Additionally,rather than employing the archaic sharp 16 a and flat 16 b symbols toindicate the various semitones, which symbols 16 are confusing to useand interpret, such as when composing and/or playing music, the presentsystem employs numbers 119, e.g., 1, 2, 3, 4, and 5, as symbols todemarcate the semitones to be played in a musical composition. Forinstance, black key 251 a, representative of a “Csharp/Dflat” note, maybe demarcated with a 1 (in the tablature and/or on the actualinstrument). Black key 252 a, representative of a “Dsharp/Eflat” note,may be demarcated with a 2. Black key 253 a, representative of an“Fsharp/Gflat” note, may be demarcated with a 3. Black key 254 a,representative of a “Gsharp/Aflat” note, may be demarcated with a 4. Andblack key 155 a, representative of an “Asharp/Bflat” note, may bedemarcated with a 5. Of course, other symbols, numbers, images,cartoons, and/or avatars may be used to represent these keys and/ornumbers.

Accordingly, as depicted the actual white keys 240 and/or black keys 250of the piano, or at least a representation thereof, can be demarcatedwith a letter, e.g., C, D, E, F, G, A, B, and/or a number, e.g., 1, 2,3, 4, or 5, respectively, so as to indicate that the playing of thosekeys will result in the sounding of the corresponding tone and semitonepitches that are to be played in accordance with the musicalcomposition. Consequently, when a whole note 14 and/or a sharp 16 a or aflat 16 b is to be played, in the present system, such tone notes may berepresented by a letter 114 and such semitone notes may be representedby a number 119 having the corresponding pitches that are sounded whenthose keys 240 and/or 250 are played. In a manner such as this, insteadof employing the out dated staff 10 and tablature 2 system of the past,such as where the lines 11 and spaces 12 there between and/or archaicsharp and flat symbols 16 are used to indicate which note of the octaveis to be played, simple, easy to understand letters and/or numbers 114and/or 119 may be used, in the present tablature 202 and/or on the piano1000 itself, to indicate which keys 240 and/or 250 of the piano are tobe played and in what order.

Because there is very little intrinsic relationship between a givensymbol 14 representative of a note to be sounded, as indicated in theancient tablature 2, and the mechanical action to be performed so as toplay that note on the instrument 1000 being played, e.g., such as bydepressing the keys 240 and/or 250, the archaic tablature 2 is laboriousto notate, difficult to read, and extremely tortuous to follow whenplaying the music of a notated composition. However, when comparing theinter-relationship between the present tablature 102 and 202, fornotating music as illustrated in FIG. 2B, to an exemplary instrumentwith which that music may be played, as illustrated in FIGS. 4A and 4B,it can clearly be seen that the present devices, systems, and methodsmake writing and/or playing a composition less laborious, easier todecipher, and is more intuitive in that the symbols employed as hereindescribed are more closely related to the instrument to be played.

FIG. 4B sets forth a further representation of a secondary template 202Bof the disclosure. In this instance, the template 202B includes adepiction of six octaves 260 a, 260 b, 260 c, 260 d, 260 e, and 260 f ofa keyboard of a piano 1000, which may, in some instances, berepresentative of an actual keyboard 1000. As depicted in FIG. 4B, eachof the six octaves 260 of the template 202B includes a representation ofseven white keys 240 as well as five black keys 250 associated with thepiano. As such, each white key 240 may be demarcated by a symbol 114such as a letter, e.g., C, D, E, F, G, A, B; and each black key 250 maybe demarcated by a symbol 119 such as number, e.g., 1, 2, 3, 4, and 5.The octaves 260, and/or the various notes 240 and 250 representedtherein, may be differentiated one from the other in any suitablemanner, such as by size, shape, color, marking, lighting, vibration,tactile indicator, and the like. Hence, in an exemplary embodiment, thekeys 240 and 250 of a first octave 260 a may be demarcated by a firstcolor, those of a second, third, fourth, fifth, sixth, and/or moreoctaves, e.g., 260 a-260 f, may all be demarcated by different colors.

Particularly, white keys 241 a-f may be demarcated or otherwiserepresented by the “C” notes of the various different pitches of thecorresponding octaves 260 a-f, where each “C” note may be demarcated bya different color, such as the color indicative of that particularoctave 260, or may share a color with a “C” note from one or more otheroctaves. For instance, in various instances, the template 202B and/orkeyboard 1000 may be split in half, such as to include a right hand sideand a left hand side, such as where all the octaves of the left handside include octaves 260 a, 260 b, and 260 c, all of which arerepresented by a different color. Likewise, the octaves of the righthand side include octaves 260 d, 260 e, and 260 f, all of which arerepresented by a different color, but where the color of the noteswithin the octaves 260 a and 260 d are the same, the colors of the noteswithin the octaves 260 b and 260 e are the same, and the colors of thenotes of the octaves 260 d and 260 f are the same.

Accordingly, the white keys 242 a-g may be demarcated or otherwiserepresented by “D” notes of the various different pitches of thecorresponding octaves 260 a-260 f, where each key 240 within a specificoctave, or a symbol 114 positioned on each key, is demarcated by thesame color, such that all keys 240 within the same octave 260 have thesame color, which color is representative of that particular octave 260.Further, white keys 243 a-f are representative of “E” notes of thevarious different pitches of the corresponding octaves, white keys 244a-f are representative of “F” notes of the various different pitches ofthe corresponding octaves, white keys 245 a-f are representative of a“G” note of the various different pitches of the corresponding octaves,white keys 246 a-f are representative of an “A” note of the variousdifferent pitches of the corresponding octaves, and white keys 247 a-fare representative of a “B” note of the various different pitches of thecorresponding octaves. It is to be noted that any suitable color ormarking scheme may be employed and differ from that described herein,such as where all the keys 240 within the octaves 260 do not all havesame color, but rather each key of the same note 114 within all thedifferent octaves 260 have the same colors. In such an instances, all ofthe “C” keys within all of the octaves 260 would have the same color,and so forth for all of the notes within the scale of the variousoctaves. Thus, giving each octave 260 a rainbow like appearance.

Likewise, black keys 251 a-f are representative of a “Csharp/Dflat” noteof the various different pitches of the corresponding octave. Black keys252 a-g are representative of a “Dsharp/Eflat” note of the variousdifferent pitches of the corresponding octave. Black keys 253 a-f arerepresentative of an “Fsharp/Gflat” note of the various differentpitches of the corresponding octave. Black keys 254 a-f arerepresentative of a “Gsharp/Aflat” note of the various different pitchesof the corresponding octave, and black keys 255 a-f are representativeof an “Asharp/Bflat” note of the various different pitches of thecorresponding octave. As noted above, each of the black keys 250 withina particular octave 260 may be demarcated by the same color, or each ofthe black keys 250 representative of the same note within the differentoctaves 260 a-f may be demarcated by the same color, e.g., given each ofthe individual black keys 150 within each octave 260 a rainbow likeappearance.

More particularly, in such instances as these, each key within the scaleof the given octave 260 a-f may be represented as being from that givenoctave by sharing the same distinguishing characteristics, such ascolor, markings, surface features, lighting, vibratory elements,symbols, e.g., letters and numbers, a combination thereof and/or thelike. For example, all 12 tone and semitone notes of a first octave 260a may be represented as being red, or any other color, all 12 tone andsemitone notes of a second octave 260 b may be represented as beingorange, or any other color, all 12 tone and semitone notes of a thirdoctave 260 c may be represented as being yellow, or any other color, all12 tone and semitone notes of a fourth octave 260 d may be representedas being green, or any other color, all 12 tone and semitone notes of afifth octave 260 e may be represented as being blue, or any other color,all 12 tone and semitone notes of a sixth octave 260 f may berepresented as being indigo, or any other color, and/or all 12 tone andsemitone notes of a seventh octave 260 g, where included may berepresented as being violet, or any other color. Of course, these colorcombinations can be changed or modified, such as where the keys of eachoctave 260 of the right hand side of the keyboard 1000 are the same butwhere each octave 260 a-c has a different color, and the keys of eachoctave 260 d-f of the right hand side differ from one another by octavebut have matching colors with the octaves of the left hand side.

For instance, when playing the piano, it is common to split the playingof notes 114/119 of the various octaves 260 between the left and righthands. Hence, in such an instance, the octaves 260 a-c containing thenotes 114 and/or 119 to be played by the left hand may be demarcated inone set of color patterns, so that all the keys 240 and/or 250 of theoctave 260 a have the same color, which color differs from the color ofthe notes of the other octaves 260 b and 260 c, and so forth; and theoctaves 260 d-f containing the notes 114 and/or 119 to be played by theright hand may be demarcated in a different set of color patterns, suchthat all the keys 240 and/or 250 of the octave 260 d have the samecolor, which color differs from the color of the notes of the otheroctaves 260 e and 260 f.

Particularly, the left hand and right hand octave sets 260 a-c and 260d-f may be mirror images of each other. For example, the octaves may besplit between right and left hand octaves, wherein the first set ofoctaves may be demarcated by a first color, which is the same color forboth right and left hand octaves of the first octave, the second set ofoctaves may be demarcated by a second color, which is the same color forboth right and left hand second set of octaves, and the third set ofoctaves may be demarcated by a third color, which is the same color forboth right and left hand octaves. More particularly, in one embodiment,as depicted in FIG. 4B, the first set of octaves 260 a and 260 d may bedemarcated by a red color, the second set of octaves 260 b and 260 e maybe demarcated by a green color, and a third set of octaves 260 c and 260f may be demarcated by a blue color.

Accordingly, because the notes of different octaves may be played by thedifferent hands, e.g., the left and right hands, in various instances,as can be seen with respect to FIG. 5A, the tablature 102 of the presentdisclosure may include a representation of a left 170 a and/or righthand 170 b, which may be positioned on the substrate 100 with respect tothe template 110/210 in such a manner so as to indicate that the notes114 and/or 119 of a particular octave 160/260 are to be played by thefingers of that right or left hand 170. In such an instance, the fingersof the left 170 a and right 170 b hand may be individually demarcatedwith a symbol, such as a number, and the individual notes 114/119 and orkeys of the piano 240/250 may be demarcated with a corresponding symbol,e.g., number, so as to indicate with which finger each note or key is tobe played. For instance, in various embodiments, the fingers of the lefthand may be demarcated with the numbers 1, 2, 3, 4, and/or 5, and thefingers of the right hand may be demarcated with the numbers 1′, 2′, 3′,4′, and/or 5′, and the like, such as where the color of the numbers forthe fingers of the left hand 170 a may be demarcated in one color, andthe numbers for the fingers of right hand 170 b may be demarcated in adifferent color, or by some other differential marking system. Likewise,the symbols representing the notes 114/119 to be played may also bedemarcated with a corresponding number and/or color scheme so astogether to indicate which fingers of which hands 170 play whichindividual notes 114/119 of which individual octaves 260.

More particularly, as can be seen with respect to FIG. 5B, a substrate100 having an exemplary template 102 for notating, composing, reading,and/or playing music is provided. The template 102 is configured forreceiving the musical symbols 114/119 employed herein as one or morecompositional and/or note designators. Accordingly, in variousinstances, the template 103 includes a plurality of sets of parallel barlines 132 a-d. In this instance, the first set of bar lines 132 may berepresented by a plurality of lines 132 a, 132 b, 132 c, and 132 d,where the various bar lines 132 are separated one from the other byspaces 130 a, 130 b, and 130 c, respectively. A second set of bar lines133 may also be represented, such as below the first set of bar lines132 by a plurality of lines 133 a, 133 b, 133 c, and 133 d, where thevarious bar lines 133 are separated one from the other by spaces 131 a,131 b, and 131 c, respectively. The length of the various spaces 130/131between the various parallel bar lines may be configured so as todemarcate the measure for the composition to be played. Hence, aplurality of measures 130/131 are provided, where each measure 130/131,in this instance, is the same length, e.g., the length of the spacebetween each set of bar lines 132/133 is the same. Within the measures130/131 of each set of bar lines 132 and 133 one or more symbols 114/119are notated, where each symbol represents a note to be played on aninstrument and/or sung.

As seen with respect to FIG. 5B, the first set of bar lines 132 ispositioned above the second set of bar lines 133. Additionally, to theleft hand side of each initial bar line 132 a and 133 a of the first andsecond set of bar lines 132 and 133, respectively, is positioned asymbol, such as of a hand 170. For instance, in front of bar line 132 ais a right hand 170 b, indicating that the various notes 114/119 setforth within the spaces 130 between the various bar lines 132 of thefirst set of bar lines are meant to be played by the right hand. And infront of bar line 133 a is a left hand 170 a, indicating that thevarious notes 114/119 set forth in the spaces 131 between the variousbar lines 133 of the second set of bar lines are meant to be played bythe left hand. In a manner such as this, the template 102 may be used toindicate which notes of the composition are to be played with the righthand 170 b, such as representing the melody line of the composition, asset forth between the first set of bar lines 132, and which notes of thecomposition are to be played with the left hand 170 a, such asrepresenting an embellishment of the composition, as set forth betweenthe second set of bar lines 133. Furthermore, as noted above, wheredesired, one or more of the fingers of the left and/or right hands 170 aand 170 b and/or the notes 114/119 notated within the tablature 102 mayinclude a further symbol, such as a number, so as to indicate with whichfinger of which hand 170 the corresponding note 114/119 on an instrument1000 is to be played.

As indicated above, the composing and playing of music is an importantaspect of cultural development and personal growth and enjoyment. Asknown in the art, there are two major types of musical instruments:acoustic and electric. Acoustic instruments are those that areconfigured for producing tones in the harmonic range of a scale, such asby the vibrations of plucked strings or the air passing through a tubeof varying lengths. These vibrations occur at particular frequenciesthat can be experienced as tonal or a tonal. As described above, tonalpitches are harmonic and form a scale, which scale can be broken downinto sets of octaves, where each octave includes eight tonal pitches.Electrical instruments, on the other hand, produce sounds indicative ofthe natural pitches through an electronic sound generating and/oramplification device that electronically mimics the frequencies of thesame pitches produced by the acoustic instruments. Particularly, whereacoustic instruments produce notes naturally through the vibrationscaused by mechanical motions, such as a string vibrating according to aparticular frequency, electrical instruments generate soundselectronically through impulses and/or digital representations thatproduce tones that correspond to the natural pitches of the scale.

More particularly, acoustic instruments, such as the piano or guitar,produce vibrations when mechanical implements, such as hammers or thefingers of the hand, impact or pluck strings of varying weights and/orlengths. This applies for other such stringed instruments such as thebass, the violin, the cello, and the like. Likewise, for windinstruments, such as the flute, the trumpet, and the like, vibrationsare caused by wind passing through a tubular element having variousopenings along its length through which air blown air may pass. Suchopenings may be closed by various mechanical implements, such as keysand/or the fingers of the hand, such that the length of the tubularelement may be varied, such as by the pressing of keys that open up orclose the holes through which the air passes in a manner so as to causevibrations and consequently tones corresponding to the pitches of amusical scale to be sounded. Even the electronic instruments mentionedabove generate sounds in response to such mechanical motions. However,in such instances, the keys depressed or the strings plucked generateacoustic, electronic, and/or digital signals that correspond to thenatural pitch sounds that are produced by the playing of thecorresponding acoustic instruments, and hence, in many instances, theelectrical instrument amplifies or otherwise generates tones equivalentto the notes of the acoustic instruments.

However, in order for the sounds generated by the musical instrument tobe harmonic, the mechanical actions that result in those sounds beingproduced or otherwise generated in such a manner that they correspond tothe notes of the musical scale being played by the instrument, or itscomponents, need to be performed in a specific order within a certaintiming and in accordance with a determined set of durations. This iswhat sets the rhythm, the beat, and the structure within which the givenpitches of a composition are to be sounded, such as in the production ofthe music composed. Accordingly, once a musical composition has beennotated, such as set forth herein, in order to play the music of thepiece on an instrument, the notated composition must be interpreted bythe player, who then must perform the mechanical actions necessary tomanipulate the instrument and its component parts so as to produce themusical pitches in such a manner that the sounds so generated correspondto the musical notes notated in the composition.

In the archaic system, however, as noted above, the musician mustinterpret the music, through learning and memory, and must furtherremember how to manipulate the instrument so as to produce the pitchesthat correspond to the notated notes. This makes the playing of composedmusic both extremely difficult, and formulaic, resulting in compositionsthat are a mere parroting of the notated piece without innovation oreven flourish. Therefore, as a further means of simplifying andinnovating the playing of music, the present disclosure herein provides,devices, systems, and methods of using the same so as to produce musicby the manipulating of innovatively designed instruments in a mannerthat is easier, more intuitive, and entertaining to play than isheretofore known in the art.

For instance, FIG. 6A provides an exemplary embodiment of an instrument1000, in this instance, an acoustic piano, of the disclosure. The piano1000 includes a housing 1001. The housing 1001 houses the components ofthe musical instrument, which in the case of an acoustic piano 1000,includes a set of strings, a set of hammers (not shown), for plucking orotherwise impacting the strings, so as to make sounds, which sounds formpitches that can be organized into the Western Musical Scale as notes,and a set of keys 240/250 for operating the hammers. The strings aretensioned and of varying weights and lengths, where each string whenplucked by its corresponding hammer, sounds a different pitch or note inthe scale, as set forth above.

Particularly, the piano 1000 includes a keyboard 1010 having a set ofkeys, such as white keys 240 and black keys 250. Each key ismechanically configured such that when it is depressed a hammer isactivated in a manner sufficient to pluck or impact a given string. Suchimpacting in turn results in the string being vibrated at a frequencythat is in part determined by the length and weight of the string, andas such the vibrating produces a sound, e.g., a pitch, that may befinely tuned and arranged into scales, for instance, by grouping thestrings of the piano 1000 into various orders of set sizes, weights,and/or lengths. In this manner, the sets of strings may be arranged soas to form sets of ascending pitches that in turn are arranged into setsof octaves 160.

Likewise, the keys 240/250 that make up the keyboard 1010 of the piano1000 are arranged in similar fashion such that when they are depressedthey result in activating an associated hammer that then strikes acorresponding string thus causing the string to vibrate at a particularfrequency and thereby sounding a note of a given pitch. As the stringsare arranged so as to form sets of ascending pitches of octaves, thekeys that are associated with those strings may also be arranged so asto form sets of octaves 160. Hence, the sets of keys 240/250 along thekeyboard 1010, when depressed in order, e.g., from left to right, resultin the production of sounds that are harmonic in nature and raise intone in accordance with a scale of pitches as one performs themechanical actions required to depress the keys 240/250 of the keyboard1010, thus activating the corresponding hammers that then strike theirassociated strings. The scale will rise upwards in pitch as onemanipulates the keys 240/250 from left to right, and will fall downwardsin pitch as one manipulates the keys 240/250 from right to left.

Accordingly, the keys 240/250 of the keyboard 1010 of the piano 1000 areconfigured so as to produce harmonic sounds in a chromatic scale in setsof octaves 160 where each octave 160 includes twelve (12) tones, e.g.,seven (7) whole tones sounded by the white keys 240 a-g, and five (5)semi tones sounded by the black keys 250 a-e, that when manipulated oneafter the other rise in pitch. As indicated above, each tone may berepresented by notes 114/119, which notes in turn may be represented bynote indicators 1114/1119, such as an alphanumeric figure, e.g., A, B,C, D, E, F, and G, or 1, 2, 3, 4, and 5, as described herein, so as toindicate the pitch of a particular frequency that will be sounded whenthat representative note 114/119 is sounded, such as when the given key240/250 of the keyboard 1010 is manipulated in a manner so as to causethe associated hammer to strike the attendant string and thus producethe corresponding vibratory sound, e.g., pitch, which as indicated maybe demarcated by note indicators 1114/1119 that are designated with thealphanumeric figures A, B, C, D, E, F, and G, or 1, 2, 3, 4, and 5. Eachkey 240/250, and its attendant hammer and string, of the piano 1000 maybe tuned such that when manipulated in a precise manner results in thesounding of pitches that accord to harmonic scales, which scales may bearranged within the piano 1000 in an ascending, or descending, order,thereby allowing one to know beforehand what particular key 240/250needs to be manipulated in order to play a given note 114/119 therebyproducing a pitch having the precise frequency of vibration to besounded when desired.

More particularly, as indicated in FIG. 6B, representative of anelectronic keyboard of the disclosure, white key 241 a may be configuredsuch that when it is depressed or otherwise manipulated it results in astring being vibrated at a particular frequency, e.g., 261.1 Hz, whichin turn results in the sounding of a tone or note having a particularpitch, which pitch may be represented by the alphanumeric symbol “C”,and may therefore be demarcated as a “C” note (a middle “C” in thisinstance, or C₄). Likewise, white key 242 a may be configured such thatwhen it is manipulated it results in the sounding of a tonal note havinga particular pitch, e.g., 293.7 Hz, that may be represented as a “D” ormore particularly a D₄ note. White key 243 a may be configured such thatsounds a tone note having a particular pitch e.g., 329.6 Hz, that may berepresented as an “E” or more particularly an E₄ note. In like manner,white key 244 a may representative of a “F” or a F₄ note having a pitchof 349.2 Hz, white key 245 a may be representative of a “G” or a G₄ notehaving a pitch of 391.9 Hz, white key 246 a may representative of an “A”or A₄ note having a pitch of 440 Hz, white key 247 a may representativeof a “B” or B₄ note having a pitch of 493.9 Hz, and white key 241 b maybe representative of a “C” or C₅ note of the next octave 260 b having apitch of 523.3 Hz, which then begins the next scale that repeats itselfin ascending frequencies.

Further, the individual black keys 250 of the piano keyboard 1010 may beadapted in a like manner so that when black key 251 a is depressed orotherwise manipulated, it results in a string being vibrated at aparticular frequency, which in turn results in the sounding of asemitone or note having a particular pitch, which pitch may berepresented by a modified “C” or “D” symbol which may be demarcated as a“Csharp/Dflat” note. Likewise, black key 252 a may be configured suchthat when manipulated, it results in a particular frequency sounding asemitone note having a particular pitch that may be represented by amodified “D” or “E” symbol that may be demarcated as a “Dsharp/Eflat”note. In like manner, black key 253 a may be configured that whenmanipulated it results in sounding a semitone that may be represented bya modified “F” or “G” symbol that may be demarcated as a “Fsharp/Gflat”note. Black key 254 a may be configured so that it results in thesounding of a note that may be represented by a modified “G” or “A”symbol that may be demarcated as a “Gsharp/Aflat” note. And black key255 a may be configured so that it results in the sounding of a notethat may be represented by a modified “A” or “B” symbol demarcated as an“Asharp/Bflat” note. As illustrated in FIG. 6A, the keyboard 1010includes keys representing seven octaves of notes 260 a-g, where eachoctave 260 includes the 8 whole, natural tone notes, 241-247 a-h,capable of sounding pitches A through G, as well as the five additionalhalf notes or semi-tones, 251-255 a-h, which include the sharps andflats of the natural notes.

Accordingly, because the instrument 1000, e.g., piano, is configuredsuch that the manipulating of a particular key 240/250 within theinstrument results in the sounding of a particular note 114/119 thatcorresponds to a particular pitch within a scale of pitches, music thathas been notated, as in FIG. 2 as herein described, may be employed asan instruction manual so as to instruct a musical performer as to whatkeys 240/250 of the keyboard 1010 of the piano 1000 need to bemanipulated, when, how long, and in what order and/or with what pressureso as to perform the mechanical actions necessary to execute aparticular musical composition 100 that has been composed and/ornotated, as described herein. It is to be understood that although theabove has been described with reference to the configuration of anacoustic piano 1000 and the general mechanical actions that need to beperformed in order to play the piano, the same general principles applyto the configuration and playing of an electronic keyboard and/oracoustic or electric guitars, other string, and/or wind instruments,such as the flute.

However, as described above, the archaic notation system as presentlyemployed (see FIG. 1) is confusing to use, difficult to interpret, andlacks intuitiveness in that it does not relate a given pitch to besounded with the particular key that needs to be manipulated or othermechanical action that needs to take place in order for the notatedsound to be produced, such as when trying to play a musical piece thathas been composed and/or notated. In one aspect, the presently describednotation and/system 1, as set forth in FIG. 5B, simplifies thedifficulties of the prior art and makes the reading and interpreting ofa musical composition easier and more intuitive. Additionally, in afurther aspect, the present devices, systems, and their methods of usealso make the playing of musical instruments, e.g., 1000, easier, moreintuitive, fun, and creative in that the instruments, as hereinpresented, are configured so as to relate the notes 114/119, as notatedin the particular composition 100 to be played, with the mechanicalimplementations that need to be carried out on the particular instrument1000 to be played, so as to sound the corresponding pitches as notatedwithin the musical composition 100.

Particularly, in one embodiment, the musical instruments 1000 as hereinemployed may be configured so as include note indicators 1114/1119 thatmay be used to indicate which key or string 240/250 of the musicalinstrument 1000 needs to be manipulated in order to sound the pitchnotated in a particular musical composition 100 to be played.Additionally, these note indicators 1114/1119 may be configured so as toindicate in what order the keys 240/250 are to be played and/or for howlong they are to be played. For instance, as set forth with respect toFIG. 6A, the housing 1001 and/or keys 240/250 of the instrument 1000,e.g., piano, may be configured to include one or more note indicators1114/1119, which indicators are configured for demarcating which key240/250 of the keyboard 1010 of the piano 1000 needs to be manipulated,e.g., depressed, so as to produce a sound, e.g., a vibratory emanation,which resonates within a particular pitch range that corresponds to theparticular note, e.g., note designator 114/119, of the octave 260 of thescale to be played, such as notated within the musical composition 100.

As set forth herein, the note indicator 1114/1119 of the instrument 1000may be any suitable indicator for indicating a note 114/119representative of the pitch to be sounded by playing that note, but inparticular instances, may be an alphanumeric figure A, B, C, D, E, F,and G; a 1, 2, 3, 4, and 5; and the like, as well as cartoons, images,and/or avatars representative of the same. Such note indicators1114/1119 may be present on or within the housing 1001 of the instrument1000, on the keyboard 1010 (or fret board), and/or on the actual keysand/or strings 240/250 of the instrument. The note indicators 1114 and1119 may be visual, mechanical, and/or electronic, and may be configuredfor indicating which key or string 240/250 or sequence of keys orstrings are to be played, when, in what order, at what time, and/or forhow long.

For example, the piano 1000 may include mechanical indicators 1114and/or 1119, which indicators may have any suitable configuration solong as they are capable of indicating what key 240/250 of the keyboard1010 of the piano 1000, when appropriately manipulated, corresponds towhat particular pitch of the musical scale is sounded when that key orstring 240/250 is manipulated. Such mechanical indicators 1114/1119 mayinclude stickers, films, paint, ink, dye, engravings, raised or sunkenelements, and the like. In various embodiments, the indicators 1114/1119may be visual, more particularly, they may be a visual representationthat is displayed or otherwise projected onto the keys 240/250 or otherportion of the keyboard 1010 or housing 1001 of the piano. In variousother embodiments, the indicators 1114/1119 may be electronic. Forinstance, the indicators 1114/1119 may be or at least include one ormore lighting elements, vibratory elements, sound emitting elements,thermal, e.g., heating or cooling, elements, and the like.

Particularly, where the indicators 1114 and/or 1119 are lightingelements, the lighting elements may be any form of electrical elementsthat are capable of emitting electromagnetic radiation in the infrared,visible, and/or ultra-violet spectrum. In such an instance, the lightingelement may be configured so as to emit a light wave of a particularwavelength, such as to emit a specific color of light, such as red,orange, yellow, green, blue, indigo, or violet, or the like.Additionally, the note indicator 1114/1119 may be configured so as toindicate when the note is to be played, at what time, and/or for howlong, such as by modulating the sequence and/or length of time and/orintensity during which the various different indicating, e.g., lightingelements, are lit up.

The note indicators 1114/1119 may be positioned on the piano 1000, suchas on the housing 1001, keyboard or fretboard 1010, and/or the keys orstrings 240 and/or 250 thereof, such as by attachment thereto, or incertain embodiments, the indicators 1114/1119 may be physicallyintegrated within or otherwise coupled with the instrument 1000 or itscomponent parts. For instance, the indicators 1114/1119 may beattachments configured to attach, adhere to, or otherwise be coupled tothe instrument 1000 or its component parts, such as with a suitableadhesive, or they may be printed, screened, airbrushed, painted, inked,projected, displayed, or otherwise written upon the instrument or itscomponent parts. In some instances, the indicators 1114/1119 may beincorporated within the instrument 1000 or its component parts such asby engraving, molding, manufacturing, die-casting, and the like. Forexample, where the indicators 1114/1119 are electronic, the indicatorand/or its component parts may be lighting elements that may be attachedto the keys 240/250 of the piano, or they may be physically integratedwithin the housing 1001 or other component parts of the instrument 1000,such as in the keys 240/250 of the instrument, such as at the time ofmanufacture. In particular instances, the lighting element 1114/1119 maybe a projection, such as from a projecting device, which projection orhologram may be projected upon the keys 240/250, keyboard 1010, housing1001, and/or other part of the instrument 1000.

In some instances, the indicators 1114/1119 may be added to theinstrument 1000 or its component parts subsequent to manufacture, butmay be designed to be fitted or attached to the instrument or may bemade to replace component parts that have previously been fitted to theinstrument. In particular instances, a kit may be provided, such as akit containing indicator stickers, or a kit containing replacement keysor strings 240/250, see FIG. 6C, such as having indicator elementsand/or electronic elements 1114/1119 therewith, that may then be fittedonto the instrument 1000 and/or to replace elements previously fittedthereon. In certain embodiments, a map for retrofitting or otherwiseconverting the instrument 1000, e.g., piano, or components thereof,e.g., keys 240/250, so as to include the indicators 1114/1119 hereindescribed may be provided. Such conversion of an existing instrumentinto an indicating instrument 1000 of the disclosure may be accomplishedmerely by adding the indicator 1114/1119 to the component, such as byapplying sufficient attachment force thereto, or may be effectuated byreplacing the original component, e.g., a key 240/250, with thesufficiently configured retrofitable keys and/or strings and/or hammerscontaining the indicator elements 1114/1119. Where a map or otherinstructions are provided, the map may be adapted to show where and how,e.g., instructions, the retrofitting process is to be accomplished.

As indicated above, in various instances, the indicating element1114/1119 may be an electrical element, such as a lighting element. Assuch, the lighting element of the electronic indicator 1114/1119 may bein a particular shape and/or size and positioned on the instrument 1000or its component part(s) so as to clearly indicate the pitch of the notethat will be sounded by manipulating the given key 240/250 of the pianohaving or otherwise displaying that note indicator 1114/1119. Forinstance, the note indicator 1114/1119 may be a lighting or otherdisplayable element that is in the form of an alphanumeric note symbol114/119, such as an A, B, C, D, E, F, and/or G, or a 1, 2, 3, 4, and/or5, or other suitable symbol, cartoon, or avatar that is capable oflighting up or otherwise emitting an electromagnetic radiation thatindicates that by the manipulation of the indicated key or string240/250 a note of the corresponding pitch will be sounded.

For instance, as can be seen with respect to FIG. 6C, a key 240 of akeyboard 1010 of a piano 1000 is presented. The key 240 includes anindicating element 1114, which in this instance may be configured as alighting element. In various instances, the lighting element 1114 may beconfigured so as to produce a light of a particular color, of aparticular hue, in a particular shape, having a particular size, all ofwhich may take place over a predetermined period of time. For example,in various embodiments, the instrument 1000 may include keys and/orstrings 240/250 wherein one or more, e.g., each, of the keys and/orstrings include lighting elements 1114/1119 that are configured forlighting up while the instrument 1000 is being played so as to indicatewhat pitch will be sounded when a particular key or string 240/250 ismanipulated.

Particularly, as herein described, the notated music 100 may includenote designators 114/119 that correspond to various pitches that are tobe sounded by the instrument 1000 when playing a musical composition.Likewise, the actual keys and/or strings 240/250 of the instrument 1000that are to be manipulated so as to sound a note of that particularpitch may also include note indicators 1114/1119, such as lightingelements, that light up or otherwise indicate the pitch of the note thatis sounded when that key or string is manipulated. Hence, the actualkeys and/or strings 240/250 of the instrument 1000 and/or the instrumentitself may include note designators 1114/1119 that display the identityof the pitch of the note 114/119 that is sounded when that key and/orstring 240/250 is manipulated.

For example, an instrument of the disclosure, such as a piano, mayinclude a key 240/250 having a note indicator therein that is configuredas a lighting element 1114, and may further include one or more of: apower supply 1021, a connector element 1022, a control element 1023, amemory 1024, a sensor 1026, a communications module 1027 (including areceiver 1027 a and a transmitter 1027 b), a clock 1028, and the like.For instance, the key 240 may include one or more, e.g., two, lightingelements 1114. In this instance, the key 240 may include a firstlighting element 1114 a, such as is positioned on a surface of the key240, such as on the top proximal surface of the key 240, and the key mayfurther include one or more additional lighting elements, such as 1114 bthat may be positioned on the front side surface of the key, althoughonly one lighting element need be present and they may be in differentpositions and/or configurations on or within the key 240.

The indicating element 1114, in this instance, may be any form ofelectrical element capable of emitting electromagnetic radiation, suchas in the form of light, such as visible light. Particularly, in certaininstances, the lighting element 1114 may be an incandescent,fluorescent, or halogen bulb, a diode, an LED, OLED, or other form ofelement capable of producing electromagnetic radiation, such as in theform of light, such as a white or colored light. Hence, in certaininstances, the light emitting element 1114 may be one or more whitelights or colored lights, such as where the lighting element may beconfigured for emitting light that is visible as a color, such as red,orange, yellow, green, blue, indigo, violet, or mixtures of the same.More particularly, the one or more lighting elements 1114 may beconfigured so as to illuminate diodes and/or lights of the same generalcolors, but which may be of different hues, diodes and/or lights ofdifferent colors, and/or diodes and/or lights that may be white lightthat is colored by use of different filters, screens, and the like. Insome embodiments, the colors, shadings, and/or hues of the lightemitting elements 1114 of the key 240 of the instrument 1000 may beconfigured to go from lighter to darker, or from different intensities,such as across an octave 260 or series of octaves 260 a-h, such as fromthe left hand to the right hand side along the keyboard 1010 of a piano1000. In certain instances, the key 240 may include a lighting element1114 that includes a display system, such as a display screen, forinstance, a liquid crystal display (LCD), light emitting diode (LED)display, plasma display, or the like. In some instances, the lightingelement 1114 may be a projection, from a projector that projects animage of a note indicator 1114/1119 on to the key 240.

In various instances, the key 240 may include or otherwise be associatedwith a power supply 1021, which power supply may be configured forsupplying power to the lighting element 1114 and/or other components ofthe instrument 1000. The power supply 1021 may be internal to the key240 or may be remote from the key but connected to the lighting element1114 therein via a suitable power carrying connection element 1022. Invarious instances, this connection may be accomplished through suitablewiring, or may be accomplished wirelessly. When configured for wirelesspower transmission, the power supply 1021 may include a plurality ofelements, such as a power transmitter 1021 a, configured fortransmitting power wirelessly, and a power receiver 1021 b capable ofreceiving and/or storing power, such as from a wireless powertransmitter 1021 a, such as in accordance with known transmissionstandards such as A4WP, PMA, Qi, and the like. In various embodiments,the key 240 may be configured for generating power capable of beingstored such as through movement, and therefore may include a powergenerating mechanism 1021 c.

Generally, the lighting element 1114 within key and or keys 240/250,and/or other components of the instrument 1000 that are operated via anenergy source may have a battery 1021, which battery may be configuredfor being charged via induction and/or in accordance with one of thewireless charging standards set forth above. For example, the key 240may include a wireless power receiver 1021 b that is adapted forreceiving a charge over a distance from a power transmitter 1021 a (notshown). In such an instance, the power transmitter 1021 a and receiver1021 b may include magnetic coils and/or antennas that are tunedtogether so as to transmit and receive an electrical and/or magneticfield that induces a current that may be used to charge the associatedbattery 1021.

Particularly, the key 240 may be configured for being coupled to a powertransmitter 1021 a that is adapted for receiving a voltage andconverting the received voltage into a high frequency alternatingcurrent that may be transmitted via a suitably configured transmittercircuit that is coupled to a transmitter coil. Such alternating currentflowing through the transmitter coil generates a magnetic field that isreceived by the receiver coil of the key 240, thereby generating acorresponding current within the receiver coil that may then beconverted into direct current via a suitable transformer and stored asenergy within the battery 1021, thereby recharging the battery of thekey 240. In various instances, the coils, e.g., 1021 c, may beconfigured to resonate and/or oscillate in response to one another,e.g., at the same or similar frequency, such as through magneticresonance whereby wireless charging over longer distances may beachieved.

Hence, a power store 1021 may be present within the key 240 and may beconnected to the lighting element 1114 so as to provide energy thereto.In various instances, the energy source 1021 that may be any suitablesource of energy, such as: a battery, such as Lithium Cadmium or ZincManganese battery, or a rechargeable battery, such as is capable ofbeing recharged through one or more of a wired or wireless connection1022. Where the battery 1021 is rechargeable, the battery may beconfigured for being recharged via connection to a wired power source,or wirelessly such as through induction, through motion, such as throughthe movement of the key 240 itself, through friction and/or heat, e.g.,caused by the finger(s), through light or solar energy, e.g., throughsolar panel 1021 c, trickle charging, and the like. Hence, the variouskeys 240/250 of the instrument 1000 may include a power storage unit1021 that may include an antenna or other coil or solar panel configuredfor generating power, e.g., 1021 c, such as through movement and/orinduction and/or from solar energy. Consequently, the key and/or string240/250 of the instrument 1000 may be directly or indirectly connectedor otherwise associated with a power supply, such as a battery 1021,that is configured for being recharged through induction, solar power,thermal energy, motion, friction, or other form of wired or wirelesscharging.

In various embodiments, the instrument 1000 and/or one or more keys240/250 thereof may include a control element 1023, such as forcontrolling the functioning of the one or more indicating elements1114/1119 and/or other controllable elements of instrument 1000 of thedisclosure. For instance, a keyboard 1010 and/or key 240/250 of theinstrument 1000 may include a control element, such as an integratedcircuit, such as an integrated circuit configured as a centralprocessing unit (CPU) 1023. For example, as depicted in FIGS. 6C and 6D,an instrument 1000 and/or key 240 of the instrument 1000 may include aCPU that is configured as a microprocessor 1023. Particularly, invarious embodiments, the key 240 may include a circuit board 1025 thatcontains a microprocessor that may be a microchip 1023, which microchipmay be configured for performing various processing functions such asrelated to receiving inputs, such as music and/or other sensory data,compiling said data, receiving and/or executing instructions, and/orcontrolling one or more output processes. More particularly, themicrochip 1023 may be configured for controlling of the functioning ofone or more indicating elements 1114/1119, such as within the key 240 orother component of the instrument 1000, such as in response to one ormore of instructions, sensory inputs, and/or other data receivedthereby. In some instances, the microchip 1023 may be configured forcontrolling the functioning of the key 240 itself, a tone produced bythe manipulation of the key 240, and/or the like. In particularembodiments, the microchip may be any suitable processing unit, such asan INTEL or ARM core processing unit.

Accordingly, in various instances, the instrument 1000 and/or key240/250 thereof may be configured so as to include a sensor 1026, suchas a sensor configured for sensing or otherwise determining informationrelated to: the pitch of a note that is actually played or otherwisesounded; the musical piece to which the given played note belongs orshould belong; the positioning and/or movement of one or more keys240/250 such as with respect to playing the given note(s) of the musicalpiece 100, including the velocity, acceleration, orientation, and/orpressure coincident with the manipulation of the key(s) 240; and/or forsensing which keys 240 and/or indicating elements 1014/1019 are being orshould be manipulated, when, in what order, and for how long, such as inthe process of playing the piece as it has been notated as describedherein. Hence, in various instances, the sensor may be configured forsensing the musical elements of a composition 100 to be played,determining the functioning of one or more controllable elements, suchas lighting elements 1114/1119, and sensing whether or not the notesactually being played accord with the musical composition 100 as notatedand/or indicated on the keyboard 1010.

Additionally, the instrument 1000 and/or key 240 thereof may include amemory 1024, such as within the circuit board 1025, such as for storingdata and/or instructions, such as music data, play data, indicator data,sensory data, and the like. Hence, the memory 1024 may include musicdata regarding music 100 that has been notated and is to be played, thecompositional and/or mechanical elements that make up that music, andexemplary and/or executable files that model the music as well as actualplay and/or sound data that may be stored and then compared to the modeldata, so as to allow the processor to determine how accurately a givenpiece is played as compared to a model piece, such as from a mechanicaland/or sensed data field. Accordingly, the memory 1024 may be operablyconnected to the microprocessor 1023 and/or sensor 1026. In certaininstances, the memory may be any suitable memory, such as a ROM, RAM,DRAM, FRAM, NAND, flash and/or the like.

In various embodiments, the instrument 1000 and/or key 240 thereof maybe configured so as to include a communications module 1027 and/or aninput/output for communicating with the circuit board 1025 and/or amicrochip 1023 and/or memory 1024 thereof. Hence, in certainembodiments, the key 240 and/or the instrument 1000 itself may beconfigured for communicating with an outside and/or third party agent,such as over an associated network, such as in a wired or wirelessnetwork configuration. For example, the key 240 may include or otherwisebe associated with a communications module 1027 that may include areceiver and/or a transmitter.

Particularly, the communications module 1027 may include a receiver 1027a configured for receiving data, such as music composition data,indicator configuration and control data, key position and/or movementdata, instructional data related to the manipulating of one or more keys240/250 of the instrument 1000, such as with respect to which of thegiven indicator elements, e.g., lighting elements 1114/1119, are to beactivated, e.g., lit up, for how long, when, and additionally withrespect to any particular given key 240/250, the sequence in which theindicator elements are to be activated, and/or the sequence, duration,and/or pressure with which any given key 240/250 is to be manipulated.Any suitable receiver capable of receiving such data, instructions, andinformation and/or conveying the same, e.g., via a suitable controller,to one or more of the indicating elements 1114/1119 and/or keys 240/250of the instrument 1000. Such data, instructions, and/or information maybe conveyed or otherwise communicated via a direct wired or wirelessconnection.

For instance, such information may be transmitted through a wired dataconnection, Ethernet connection, and/or internet connection 1022.However, in certain instances, the receiver may be a wireless receiversuch as a radio and/or video receiver, audio/visual receiver, or otherform of receiver configured for receiving audio, visual, electronic,and/or digital and/or compressed communications signals. In variousinstances, the receiver may be configured for receiving and/ordetermining and/or tracking positioning and/or movement data. Forexample, in certain instances, the key 240 may include or otherwise beassociated with a geo-location receiver device, e.g., a GPS or GPS-likereceiver, such as in this instance for determining the relative positionof the keys 240/250 of the instrument 1000 relative to one anotherand/or how any given key or keys should be positioned when playing agiven notated compositional piece.

The communications module may include a transmitter, such as fortransmitting data, instructions, and/or information, such as datarelated to the activation of one or more indicating elements 1114/1119and/or the manipulating of one or more keys 240/250 of the instrument1000, such as with respect to which of the given indicator elements,e.g., lighting elements, should be activated so as to indicate which ofthe given keys 240/250 should be manipulated so as to produce theappropriate pitch as notated within the composition 100 that is to beplayed and/or is being displayed, e.g., electronically, by a displaydevice 1037. For instance, any suitable transmitter capable oftransmitting relevant data over a wired or wireless connection may beemployed, such as a CATIII, CATIV, HDMI, optical cable, and the like. Invarious instances, the transmitter may be configured for transmittingdata in a wireless configuration, and as such a suitable transmitter mayinclude a wireless WIFI, cellular, BLUETOOTH, BLUETOOTH LE networkconnection, and the like. Hence, in certain particular embodiments, thetransmitter may include one or more of WIFI, BLUETOOTH, Low Energy/Smart(BLE), ANT+, RFID, IrDA, Infra-red, ZIGBEE, and the like. And in someinstances, the data to be transmitted may be related to indicator1114/1119 activation, key and/or string 240/250 manipulation, includingsequence, velocity, acceleration, orientation, duration, and/or pressuredata, as well as pitch generation data related to the key and/or string240/250 manipulation, which data may be configured for beingcommunicated or otherwise transmitted over a network 200 to a suitablynetworked receiving device 600, such as a third party observing and/ormonitoring device, such as a computer and/or display device thatmonitors the playing of the instrument 1000 in correspondence to thecomposed tablature 100. Particularly, in certain instances, where thetransmitter 1027 b is a radio transmitter, the transmitter may becoupled to the microprocessor and configured for transmitting data, suchas over an operating range from about a 2.4 to about a 2.485 GHzfrequency, in some instances.

As can be seen with respect to FIG. 6D, an exemplary key 240/250, asrepresented in FIG. 6C, may be included along with a number of othersuch suitably configured keys so as to form a keyboard 1010 of aninstrument 1000. Accordingly, the instrument 1000 will include akeyboard 1010, which keyboard will include keys 240 and 250. Theinstrument 1000 will also include indicator elements 1114/1119, whichindicator elements may be configured as part of the keys 240/250, asdepicted in FIGS. 6A, 6B and 6D, and/or may be configured as part of thehousing 1001 and/or keyboard 1010 of the instrument 1000, as depicted inFIGS. 6A and 6B. For instance, the instrument 1000 may include a housing1001, which housing may include a plurality of indicating elements,e.g., lighting elements 1114/1119, such as where there is at least onelighting element per key 240/250 of the keyboard 1010.

As above, the lighting element 1114/1119 of the instrument may be anyform of electrical element capable of emitting electromagneticradiation, such as an incandescent, fluorescent, or halogen bulb, adiode, an LED, OLED, or other form of electromagnetic radiationproducing element, such as a white or colored light. Particularly, thelighting elements 1014/1019 positioned along the instrument 1000proximate the keys 240/250 of the keyboard 1010 and/or on the keys240/250 themselves, may be configured so as to illuminate lights ordiodes of the same or different colors. In some embodiments, the colors,shadings, and/or hues of the light emitting elements 1114/1119 of theinstrument 1000 may be configured to go from one color to another, fromlighter to darker, or from different intensities or hues, such as acrossthe housing 1001 along the keyboard 1010, such as from the left hand tothe right hand side of the instrument 1000. Hence, in certain instances,the housing 1001 and/or keyboard 1010 may include lighting elements thatinclude or may otherwise be associated with a display system 1037, suchas a display screen, for instance, a liquid crystal display (LCD), lightemitting diode (LED) display, plasma display, or the like. In someinstances, the lighting element 11114/1119 may be a projection, from aprojector that projects an image of a note designator 114/119 on to thehousing 1001.

Furthermore, as can be seen with respect to FIGS. 6D and 6E, theinstrument 1000 itself may include one or more of: a power supply, aconnector element, a control element, a memory, a sensor, a receiver, atransmitter, a clock, and the like. For instance, the housing 1001and/or keyboard 1010 of the instrument may include or otherwise beassociated with a power supply 1021 configured for supplying power tothe instrument 1000, a lighting element 1020 thereof, and/or othercomponents of the instrument. The power supply 1021 may be internal tothe instrument 1000 and/or lighting element 1114/1119 and/or othercomponent or may be remote therefrom but connected therewith via asuitable power carrying connection element 1022. In various instances,this connection may be accomplished through suitable wiring, or may beaccomplished wirelessly. When configured for wireless powertransmission, the power supply 1021 may include a plurality of elements,such as a power transmitter 1021 a, e.g., external to the instrument,configured for transmitting power wirelessly, and a power receiver 1021b, internal to the instrument 1000, capable of receiving and/or storingpower, such as from a wireless power transmitter 1021 a, such as inaccordance with known transmission standards such as A4WP, PMA, Qi, andthe like.

Consequently, the instrument 1000 may be directly or indirectlyconnected or otherwise associated with a power supply, such as a battery1021, that is configured for being recharged through induction, solarpower, thermal energy, motion, friction, or other form of wired orwireless charging. For instance, the instrument 1000 and/or a componentthereof, e.g., key 240/250, may include a wireless power receiver 1021 bthat is adapted for receiving a charge over a distance from a powertransmitter 1021 a. In such an instance, the transmitter 1021 a andreceiver 1021 b may include magnetic coils and/or antennas that aretuned together so as to transmit and receive an electrical and/ormagnetic field that induces a current that may be used to charge theassociated battery.

More particularly, the instrument 1000 and/or key 240/250 may beconfigured for being operably coupled to a power transmitter 1021 b thatis adapted for receiving a voltage and converting the received voltageinto a high frequency alternating current that may be transmitted via asuitably configured transmitter circuit that is coupled to thetransmitter coil. Such alternating current flowing through thetransmitter coil generates a magnetic field that is received by thereceiver coil of the receiver 1021 a, thereby generating a correspondingcurrent within the receiver coil that may then be converted into directcurrent via a suitable transformer and stored as energy within thebattery 1021, thereby recharging the battery of the device. In variousinstances, the coils may be configured to resonate and/or oscillate inresponse to one another, e.g., at the same or similar frequency, such asthrough induction and/or magnetic resonance whereby wireless chargingover longer distances may be achieved.

In particular instances the controller, e.g., circuit board 1025containing the microprocessor 1023, may be configured so as to becoupled to an input/output module. For example, a typical input devicemay include, but is not limited to, keyboards, touch screens or othertouch-sensitive devices, such as single or multi-point resistive orcapacitive trackpads, voice recognition hardware and software, opticalscanners, optical pointers, digital image capture devices and associatedinterpretation software, a Universal Serial Bus (USB) port, SecureDigital Input Output (SD/SDIO) port, flash drive port, lightning port,pCIE, and the like. A typical output device may be a display such as acapacitive sensing control panel display. In various instances, thedisplay may be the typical display that may be a part of the instrumentor separate therefrom, such as a display of a mobile computing device,such as the display of a mobile phone and/or tablet computer, and thelike. Input, such as input from a user, or a person associated with theuser, may be received in any form, including, but not limited to,acoustic, speech, or tactile input. In some instances, the system mayadditionally include one or more displays, and/or one or more sensors.

Accordingly, in various embodiments, the instrument 1000 may include ormay otherwise be associated with a control element 1023, such as forcontrolling the functioning of the one or more indicating elements1114/1119, e.g., via lighting element 1020, and/or other controllableelements of instrument 1000. For instance, the instrument 1000 mayinclude an integrated circuit, such as a central processing unit (CPU)1023, e.g., configured as a microprocessor. Particularly, in variousembodiments, the instrument 1000 may include a circuit board 1025 thatcontains a microprocessor 1023 that may be a microchip configured forperforming various processing functions such as related to receivinginputs, such as music and/or other sensory data, compiling said data,receiving and/or executing instructions, and/or controlling one or moreoutput processes. More particularly, the microprocessor may be amicrochip 1023 that may be configured for controlling of the functioningof one or more lighting elements and/or indicating elements 1114/1119,such as within the housing 1001 or other component of the instrument1000, such as in response to one or more of instructions, sensoryinputs, and/or other data received thereby. In particular embodiments,the microchip 1023 may be any suitable processing unit, such as an INTELor ARM core processing unit.

In various instances, the instrument 1000 may be configured to includeor otherwise be associated with a sensor 1026, such as a sensor adaptedfor sensing or otherwise determining information related to the pitch ofa note that is actually played or otherwise sounded, the musical pieceto which the given played note belongs or should belong, the positioningand/or movement of one or more keys 240/250 such as with respect toplaying the given note(s) of the musical piece, including the velocity,acceleration, orientation, and/or pressure coincident with themanipulation of the key(s) 240, and/or for sensing which keys 240 and/orindicating elements 1114/1119 and/or lighting elements are being orshould be manipulated, when, in what order, and for how long, such as inthe process of playing the piece as it has been notated as describedherein. Hence, in various instances, the sensor 1026 may be configuredfor sensing the musical elements of a composition to be played,determining the functioning of one or more controllable elements, suchas lighting 1020 and/or indicating elements 1114/1119 and/or keys240/250, and sensing whether or not the notes actually being playedaccord with the musical composition as notated and/or as indicated,e.g., via indicator elements, on the keyboard 1010 as to be played.

Accordingly, a typical sensor 1026 may be any form of data collectionmechanism capable of detecting a relevant characteristic such as ofnotated music 100 to be played, an instrument 1000 being played, and/ormay further be configured for transmitting that data to themicroprocessor 1023 for processing and/or transmission and/or a display1037 such as to the player of the instrument 1000 or other third party,for instance, a teacher, a parent, or other third party associated withthe playing of the instrument 1000. For example, in certain instances,the sensor 1026 may be a motion and/or orientation sensor, such as adistance measuring sensor, such as for determining the travel of adepressed key or a plucked string 240/250, a speed or accelerationsensor, e.g., an accelerometer, for example, a multi-axis accelerometerand/or gyroscope, such as for determining the acceleration resultantfrom the depressing of a key and/or the plucking of a string 240/250 ofthe instrument 1000 and/or for determining where the key or string240/250 was struck.

In various embodiments, a motion sensor, where included, may include oneor a plurality of sensors that detect instantaneous motion and/orsensors that detect velocity and/or acceleration, and the like, formeasurement of short duration movements or impulses. In furtherinstances, such a motion sensor 1026 may be one or more sensors thatdetect distance, speed, and/or velocity and the microprocessor, and/orthe sensor hardware or software itself, may be configured to utilizethat information about distances, passage of distance in relation to thepassage of time, and/or the rate of such change so as to determine oneor more other characteristics about motion, direction, and/ororientation of the keys and/or strings 240/250 of the instrument 1000being played. Additionally, the instrument 1000 and/or a key and/orstring 240/250 thereof may include one or more of a strain gauge, apiezoelectric sensor, optical sensor, energy sensor, and/or the like,such as for determining the movement of the keys and/or strings 240/250of the instrument 1000 as well as the pressure applied to the keysand/or strings when manipulating them. Such sensors 1026 may be aMEMS-based, nano-scale based, piezoelectric, piezoresistive sensor, andthe like.

Additionally, in various instances, the keys and/or strings 240/250 mayinclude a sensor 1026 that may be configured so as to obtainphysiological data that may be collected by the keys and/or strings240/250 being manipulated when playing the instrument 1000. Such sensors1026 may be embedded within the keys and/or strings 240/250 and may beconfigured to collect physiological data, such as data associated with aperson, e.g., child or adult playing the instrument 1000, and/or his orher state of health and/or performance in the activity of playing musicon the instrument. For example, the sensor 1026 may be a physiologicsensor and/or data collector, such as a temperature gauge or bodythermometer, so as to measure the temperature of the player; a heartrate monitor or pulse meter, so as to measure the heart rate of theuser; a blood pressure monitor, to measure the players blood pressure; amyoelectric sensor; a carbon dioxide (CO₂) sensor; a pulse oximeter;oxygen saturation monitors; hemoglobin sensors; an electrocardiogram; anelectroencephalography monitor; and/or a pressure monitor; and the like.

In certain instances, the information captured, compiled, and/orprocessed by the one or more sensors 1026 and/or associatedmicroprocessor 1023 set forth herein may be communicated to the player,such as in a visual, auditory, or tactile manner, such as via a display1037, a graphic, a light, e.g., an LED light such as an indicator1114/1119, light sequence, or series of lights, such as from green toyellow to red, a sounded alarm or bell, or a vibration, and the like.Further, these signals may be arranged to increase or decrease inintensity and/or frequency dependent on the results of the collectedand/or compiled data, such as in response to the accuracy of playing anotated musical piece as it has been composed and/or notated. Forexample, the amplitude, timing, and duration of an auditory, visual,and/or tactile signals can be varied to indicate to a player or amonitor of the player the nature of the changed input.

Additionally, in various other instances, the microprocessor 1023 may beconfigured to operate in conjunction with the memory 1024 so as todetermine whether a particular sequence of keys 240/250 being playedand/or pitches being sounded are the correct notes to be played ascalled for by the note designators 114/119 set forth in the notatedmusic 100. Particularly, the system may be configured for determiningthe information necessary for playing a given piece of music 100 asnotated, and determining whether the music actually being played, e.g.,the keys 240/250 being manipulated and/or the pitches being sounded,correspond to the notes of the notated music 100. For instance, thesystem, e.g., the memory 1024, the processor 1023, and/or other systemelements, may be configured for determining the pitch of a note that isactually played or otherwise sounded and comparing it to the musicalpiece to which the given played note belongs or should belong,determining whether the correct note was played, for the correctduration, with the correct pressure, in the correct manner, and/ordetermining if the right note designators 114/119 and/or indicatorelements 1114/1119 are activated, and/or the playing occurs incorrespondence with that activation, e.g., in a positive or negativefeedback loop, so as to determine the accuracy of playing and/or toappropriately teach the playing of the music 100. Hence, in variousinstances, the system may be configured for determining the musicalelements of a composition to be played, determining the functioning ofone or more controllable elements, such as lighting and/or indicatingelements 1114/1119 and/or keys 240/250, and determining whether or notthe notes actually being played accord with the musical composition asnotated and/or as indicated, e.g., via indicator elements 1114/1119, onthe keyboard 1010 as to be played.

More particularly, as indicated in FIGS. 6E and 6F, the CPU 1023 mayinclude one or more registers that may be loaded with data, such as datadrawn from the memory 1024, upon which data one or more instructions maybe run. For instance, given the stage of playing and the status of thesystem, one or more of the following data may be loaded into theprocessor 1023 from the memory 1024 and/or displayed on the display1037, such as accurate note data 1029 a, correct speed data 1029 b,appropriate duration data 1029 c, right pressure data 1029 d, and rightsequence data 1029 e, setting forth the particulars needed for theprecise playing of the music as notated 100. These note play data may beread out from the memory 1024, such as from long-term ROM 1024 a andread into short term RAM 1024 b, for rapid access by the CPU 1023.

For instance, one particular register 1029 may be configured so as todetermine if the correct key 240/250 was played and/or note was sounded,1029 a. In such an instance, if the correct key was played, e.g., thecorrect note sounded, then the next note may be loaded into the register1029, and the sequence for playing the music 100 continues. However, ifthe wrong key 240/250 is played, e.g., the wrong note sounded, this maybe tallied by the register 1029 g as well, and the system may eitherbegin again or continue with the playing such as by loading thebeginning note or the next note in the sequence, respectively. In amanner such as this, the number of correct keys 240/250 played may berecorded, e.g., in register 1029 f, and/or the number of mis-played keysmay be flagged and/or tallied, e.g., in register 1029 g. A furtherregister may be configured as a speed and/or duration register 1029 b/c,such as for accumulating time differences between a correct keydepression timing defined by duration data, and an actual key depressiontiming as loaded from the RAM/ROM 1024 and/or as determined by anintegrated key depression detection circuit for sensing or otherwisedetermining which key has been manipulated, when, for how long, in whatorder, and with what amount of force. If an expedited and/or delayeddepression occurs, such an event may be flagged for further processing,e.g., in register 1029 g. An additional register may be configured as apressure determining register 1029 d, such as for determining theappropriate pressure being employed in playing a key 240/250 for playingthe music 100 uploaded as correct pressure duration data from the memory1024. Additionally, the sequence of notes to be played may be loadedinto the register 1029 e and tracked with respect to the correct playingthereof. Hence, if the correct playing is determined, this may betracked and/or tallied, such as in register 1029 g, and if incorrectplaying is determined, this may be tracked and/or tallied, such as inregister 1029 f, such as result play data. This result play data maythen be reviewed by the user and or accessed by the other components ofthe system such as to be used in various different play modes, such asauto-correct mode 1034, accompaniment mode 1033, or other such modes.

Accordingly, as described herein, the circuit board 1025 of theinstrument 1000 may include or be associated with a memory 1024, such asfor storing data and/or instructions, such as music data, play data,indicator data, sensory data, and the like. Hence, the memory 1024 mayinclude music data regarding music that has been notated and is to beplayed or has been played, the compositional and/or mechanical elementsthat make up that music, and exemplary and/or executable files thatmodel the music as well as actual play and/or sound data that may bestored and then compared to the model data, so as to allow the processor1023 to determine how accurately a given piece is played as compared toa model piece, such as from a mechanical and/or sensed data field and/ormusic particulars stored within the memory 1024. Additionally, such datamay be accessible and usable in the control and running of the variousother modes including the sound generation mode 1031, the sound effectmode 1032, accompaniment mode 1033, auto play/auto correct mode, and/orthe indicator sequence and/or accuracy mode. Accordingly, the memory1024 may be operably connected to the microprocessor 1023 and/or sensor1026. In certain instances, the memory may be any suitable memory, suchas a ROM, RAM, DRAM, FRAM, NAND, flash and/or the like.

For example, the various registers 1029 may receive various note/keyplay data from the memory 1024, so as to evaluate the playing mechanicsof the player playing the keys and/or strings 240/250 of the instrument1000. The registers may be configured to determine if the notes and/orkeys 240/250 were played, were correct, in the correct order, with thecorrect speed (e.g., played too fast or too slow or played correctly),for the correct duration (e.g., played too long or not long enough orplayed correctly), and with the correct pressure (e.g., played too hardor too lightly or played correctly), such as by evaluating theto-be-played note/key with the played note/key 240/250, the to-be-playedspeed/duration/pressure with the played speed/duration/pressure, such asby evaluating the speed, e.g., timing and distance traveled over thelength of time and with what pressure was asserted. Hence, in order toplay the composition correctly, a performer will have to manipulate theright keys and/or strings 240/250 or otherwise sound the right notes114/119 in the right order, with the right timing according to themeasure and beat of the notated music 100, with the right length of timeand amount of pressure, and/or with the right type of flourish and/orembellishment. To facilitate this correct playing, the system will causethe correct indicator elements 1114/1119 to be activated in the rightorder, at the right time, for the right duration, with the appropriateamount of intensity so that the person playing the instrument 1000 maybe guided in the correct manner in which to play the notated music 100.Where an incorrect key 240/250 is played and/or a correct key 240/250 isplayed incorrectly, a register 1029 g will track and tally thisoccurrence (wrong key played, in wrong order, with wrong speed, forwrong duration, etc.).

In various embodiments, the instrument 1000 may be configured to includea communications module 1027 and/or an input/output for communicatingwith the circuit board 1025 and/or a microchip 1023 and/or memory 1024thereof. Hence, in certain embodiments, the instrument 1000 itself maybe configured for communicating with an outside and/or third partyagent, such as over an associated wired or wireless networkconfiguration. For example, the instrument 1000 may include or otherwisebe associated with a communications module 1027 that may include areceiver 1027 a and/or a transmitter 1027 b.

Particularly, the communications module 1027 may include a receiver 1027a configured for receiving data, such as music composition data,indicator and/or lighting element configuration and control data, keyposition and/or movement data, instructional data related to themanipulating of one or more keys 240/250 of the instrument 1000, such aswith respect to which of the given indicator elements 1114/1119, e.g.,lighting elements 1020, are to be activated, e.g., lit up, for how long,when, such as data sent to the receiver from a controller remote fromthe instrument or CPU 1023 thereof. Additionally with respect to anyparticular given key 240/250, the data to be received may pertain to thesequence in which the indicator elements 1114/1119 are to be activated,and/or the sequence, duration, and/or pressure with which any given key240/250 is to be manipulated. Consequently, the indicator elements1114/1119 may be configured to activate in appropriate manner to reflectthese play conditions. Any suitable receiver capable of receiving suchdata, instructions, and information and/or conveying the same, e.g., viaa suitable controller 1023, to one or more of the indicating elements1114/1119, lighting elements, and/or keys 240/250 of the instrument 1000may be employed.

Such data, instructions, and/or information may be conveyed or otherwisecommunicated via a direct wired or wireless connection. For instance,such information may be transmitted through a wired data connection,Ethernet connection, WiFi, Peer to Peer, e.g., Bluetooth, and/orinternet or cloud based connection. However, in certain instances, thereceiver may be a wireless receiver such as a radio, cellular, and/orvideo receiver, audio/visual receiver, or other form of receiverconfigured for receiving audio, visual, electronic, and/or digitaland/or compressed communications signals. In various instances, thereceiver may be configured for receiving and/or determining and/ortracking positioning and/or movement data. For example, in certaininstances, the key 240/250 may include or otherwise be associated with ageo-location receiver device, e.g., a GPS or GPS-like receiver, such asin this instance for determining the relative position of the keys240/250 of the instrument 1000 relative to one another and/or how anygiven key or keys should be positioned when playing a given notatedcompositional piece.

The communications module may include a transmitter, such as fortransmitting data, instructions, and/or information, such as datarelated to the activation of one or more indicating 1114/1119, e.g.,lighting elements, and/or the manipulating of one or more keys 240/250of the instrument 1000, such as with respect to which of the givenindicator elements 1114/1119, e.g., lighting elements 1020, should beactivated so as to indicate which of the given keys 240/250 should bemanipulated and when so as to produce the correct pitch, for theappropriate duration, with the right amount of pressure, and in theright order, as herein described, as notated within the composition 100that is to be played. For instance, any suitable transmitter capable oftransmitting relevant data over a wired or wireless connection may beemployed, such as a CATIII, CATIV, HDMI, optical cable, and the like. Invarious instances, the transmitter may be configured for transmittingdata in a wireless configuration, and as such a suitable transmitter mayinclude a wireless WIFI, cellular, BLUETOOTH, BLUETOOTH LE networkconnection, and the like. Hence, in certain particular embodiments, thetransmitter may include one or more of WIFI, BLUETOOTH, Low Energy/Smart(BLE), ANT+, radio frequency, RFID, IrDA, Infra-red, ZIGBEE, and thelike.

In some instances, the data to be transmitted may be related toindicator 1114/1119 or lighting element 1020 activation, key and/orstring 240/250 manipulation, including sequence, velocity, acceleration,orientation, duration, and/or pressure data, as well as pitch generationdata related to the key 240/250 manipulation, which data may beconfigured for being communicated or otherwise transmitted over anetwork 200 to a suitably networked receiving device 600, such as athird party observing and/or monitoring device, such as a computerand/or display device 1037 that monitors the playing of the instrument1000 in correspondence to the composed tablature 100. Particularly, incertain instances, where the transmitter 1027 b is a radio transmitter,the transmitter may be coupled to the microprocessor 1023 and configuredfor transmitting data, such as over an operating range from about a 2.4to about a 2.485 GHz frequency, in some instances.

Further, in various embodiments, the control circuitry of theinstrument, as depicted in FIGS. 6D and 6E, may include or otherwise beassociated with a clock 1028, which clock may include a timer, acounter, and/or an alarm. The clock may be configured for counting up ordown, and in some instances may be configured for keeping time and/ortempo with the notated music being or to be played, such as in beats perminute or seconds, e.g., in whole, half, quarter, eight, etc. beats perminute, second, etc. In certain instances, the clock 1028 may beconfigured for running as a metronome, such as for keeping the speed,tempo, timing, and/or measure of the music. Hence, the clock may work inconjunction with a tone-generating device 1031 so as to facilitate theplaying of a composed musical piece.

In various instances, the clock 1028 may be a mechanical or digital timekeeping device, may include a timer, a stop watch, one or more alarms,and/or a world clock being able to keep and display time for amultiplicity of countries and/or time zones as well as for one or moreassociated and/or networked instruments. Additionally, the clock 1028may be configured for measuring the time for the running of the internalcomponentry of the musical instrument, associated software, hardware,and electro-mechanical operations of the device 1000. For instance, atimer 1028 may be included where the timer is operably associated with aclock pulse generator such as for generating one or more clock pulsesignals, such as where one cycle period may define a minimum unit timefor the measure of the musical performance. In such an instance, onecycle of the clock pulse may be configured to correspond to apredetermined note duration and/or the clock frequency of the timer maybe set by a tempo switch, which may then be fed to the CPU 1023.

Additionally, in various instances, the instrument 1000 may include akeystroke monitor and/or tone generator and modulator 1031, such as forgenerating and/or modulating electrical audio pulses or tone signals,e.g., artificial sound frequencies, in response to one or more keystrokedata that may be sent to various of the different components of theinstrument 1000, such as to the ROM/RAM 1024 and/or sounded through anassociated amplifier and/or loud speaker 1036, such as through a wiredor wireless connection 1022 therewith. Accordingly, in some embodiments,the tone generator 1031 may include a circuit such as to convertelectrical signals, e.g., keystroke data, into a sound. Particularly,one or more keystroke signals generated from the operation of one ormore keys and/or strings 240/250 of the keyboard 1010 or data read outfrom RAM/ROM 1024 may be fed to the musical tone signal generator 1031so as to generate musical note signals. These note signals are soundedthrough amplifier and/or loudspeaker 1036. In such an instance, theaudio sound signal may be of a pitch such as of a musical note, or maysimply be a tone that may be employed in conjunction with a clock 1031unit so as to act as a metronome for keeping time.

For instance, in response to a key 240/250 being depressed, electricalsignals may be generated in any suitable manner, such as by sending anelectric current through an oscillating mechanism, e.g., a vacuum tube,so that the current is forced to oscillate in a manner so as to producean audible compression wave. In other instances, the electronic signalmay be passed through a coil in a manner so as to produce a magneticfield as the coil receives a current. In such an instance, the coil ispositioned in proximity to a fixed magnet and connected to a flexiblemembrane, e.g., a paper or plastic membrane, such that when theelectrical signal passes through the coil, the magnetic field rapidlychanges, causing the signal to either be attracted to or repelled fromthe magnet, which then causes the magnet and the membrane attached to itto vibrate quickly. These vibrations cause compression waves in the airthat propagate in particular frequencies as sound. Such currents may bemodified or otherwise modulated by synchronizing various mechanicalelements that are configured for keeping the signals so as to beproportional or disproportional with one another as desired.

In particular instances, the tone generator 1031 may be used to convertkeystroke data, such as entered through the depressing of the keys of akeyboard 1010, into digitally generated pitches, such as those stored asdigital files, e.g. way files, within a register 1029 and/or the memory1024, which may then be converted into artificial audio sounds. In someinstances, the tone generator 1031 may produce pitches in accordancewith composed and/or notated music, such that the electronic signalsproduced may be converted into tones, amplified, and passed through asound system, such as a loud speaker 1036, as musical sounds. In variousembodiments, the tone generator 1031 may be associated with an effectselement 1032 so as to impart various effects to the tone signalsproduced by the tone generator 1031. For example, in particularembodiments, the tone generator may be configured as or may otherwiseinclude a Musical Instrument Digital Interface (MIDI) device 1032, whichMIDI may be coupled to one or more of the music tone generator 1031, anaccompaniment control unit 1033, as well as an auto play and/or autocorrect element 1034.

Particularly, the instrument 1000 may include a MIDI device component1032 that is configured for employing a protocol that is designed forrecording and/or playing music back, such as on an associated digitalsynthesizer. For instance, where the music tone generator 1031 may beconfigured for generating musical pitches, the MIDI may be configured totransmit information about how music to be played back may be produced,such as by including command sets such as by producing key movements, ordetermining note-ons, note-offs, key velocity, pitch bend, and othersuch methods of controlling an associated keyboard and/or synthesizerassociated therewith. In such an instance, the sound waves produced bythe MIDI are typically those already stored in a wavetable in the memory1024 of the instrument 1000 or a sound card, thumb drive, e.g., USBmemory stick, SIM card, SD card or other input device that may beassociated with the instrument 1000, synthesizer, or the like.

More particularly, in a typical configuration, rather than producingmusical pitches directly, the MIDI can be configured for representingmusical sound indirectly. For example, the MIDI 1032 may be configuredto include data such as a set of instructions that in certain instancesmay be in the form of a list of events or messages, e.g., impulses, thatinstruct the tone generator 1031 to generate the various pitches of thecomposed, notated, played, and/or recorded music 100. As indicated, thetypical instructions may include a key movement and/or detectioncircuit, a “note-on” signal, which signal indicates that a key, e.g.,240/250, has been pressed, the identity of the key that was pressed, aswell as the velocity, duration, and/or the pressure with which the key240/250 was pressed, and in response thereto may produce sounds based onsuch data. Likewise, the instructions may include a “note-off” signalthat indicates a key 240/250 has been released or that a note is doneplaying, and may include a return velocity, duration, and or a releaseof pressure measurement. The instructions may also include directionsfor a key pressure sensor to measure how hard the key 240/250 is pressedonce it “bottoms out,” which may also be employed to add vibrato orother effects to the note. Further data that may be stored, accountedfor, and/or employed may be data for determining or ensuring the correctsequence of notes have been played as required by a given notated pieceof music.

Additional instructions may include a control change indicatorconfigured for indicating that a change of control has occurred, such asa musical instrument modulator that has been activated, and/or a pitchwheel change signal that indicates the pitch of a note has been bent orotherwise modulated, such as with an associated pitch wheel of akeyboard 1010. For example, when a MIDI 1032 is employed, such as torecord music and/or play data and/or to modulate sound data and/or addeffects thereto, the lists of these instructions may be saved within thememory 1024 of the instrument, such as in a .MID file, which file may beplayed back, such as on an associated tone generator 1031, e.g.,employing an internal or external synthesizer, that is configured forimplementing the instructions of the MIDI 1032, such as to play back therecorded pitches, for instance through an associated sound system 1036.In certain of such instances, the keyboard 1010 may play or indicatethat a particular key is depressed with a certain velocity and that itis held for a specified amount of time in accordance with the storedinstructions before moving on to the next note. In particular instances,the MIDI 1032 may be coupled to one or more of an accompaniment controlunit 1033 and/or an auto play and/or auto correct module 1034. These maybe used for teaching the player the appropriate way to learn to play themusic and/or may be used in one or more games and/or in a multiplayermode.

For instance, in various instances, it may be useful for the instrument1000 to include one or more of an auto-accompaniment 1033 and/or anautocorrect 1034 module(s) such as for teaching, evaluating, and/or forenhancing the experience of playing the instrument 1000. For suchimplementations, the MIDI 1032 may be operably connected, e.g., viainterconnects 1022 or other input-output bus, to the music tonegenerator 1031, an accompaniment control unit 1033, an autoplay/correctmodule 1034, the memory 1024, the timer 1028, a sensor 1026, the CPU1023, the communications module 1027, sound system 1036, an associatedbattery or power source 1021, and/or other componentry of the instrument1000. Accordingly, the various componentry of the instrument 1000 may beconfigured so as to be compatible with the various MIDI standards. It isto be noted that although the MIDI 1032 may or may not function to storedigital music files per se, the tone generator may include such digitalmusic files, such as in an MP3, WAV file format or the like. In someembodiments, the tone generator 1031 may be operably connected tomultiple effects generators.

When included, the auto-accompaniment unit 1033 may be configured toproduce musical sounds such as pitches that may be emitted, such as viaan operably connected tone generator 1031 and/or sound system 1036, soas to accompany the music produced by a person playing the instrument1000. For instance, the accompaniment control unit 1033 may be coupledto the memory 1024 so as to store one or more accompaniment musicpattern data, e.g., within a register 1029, which data may include aplurality of music files, e.g., .MID, .MP3, .WAV, etc., such ascorrespond to the notated tablature 100 of the system. Particularly, ina digital implementation, a plurality of accompaniment pattern datafiles may be stored in a dedicated auto-accompaniment pattern data partof the memory, e.g., ROM 1024 a, which files may be toggled through andselected from such as by a suitably configured switch input mechanism,such as a knob, button, or other such input device. In such instances,the selected accompaniment pattern data, e.g., digital music files, onceselected may be read out of RAM 1024 b from the accompaniment controlunit under control of the CPU 1023. Such digital data may then be fedinto an auto-accompaniment tone generator 1031 so as to generateauto-accompaniment tone signals that are sounded through the soundsystem 1036, e.g., amplifier 1036 a and/or loudspeaker 1036 b, such asin conjunction with a person playing the instrument 1000, so as toaccompany the playing thereof.

In various instances, the auto accompaniment unit 1033 may functionalone or together with an auto-play module 1034 that may be configuredto mechanically implement the accompaniment of the playing of theinstrument. In other instances, the auto-play module 1034 may functionin its own right to automatically play the instrument 1000. Forinstance, the instrument 1000 may include mechanical actuators that areconfigured to mechanically manipulate the movements of the keys 240/250so as to automatically play the instrument 1000, such as in an acousticmanner, such as to mechanically play and/or accompany a person playingthe instrument 1000. Particularly, similar to the digital functioning ofthe auto accompaniment unit 1033, the auto play module 1034 may alsoinclude a plurality of auto-play and/or accompaniment pattern data filesthat may be stored in a dedicated mechanical auto-play pattern data partof the memory, e.g., ROM 1024 a, which files may be toggled through andselected from such as by a suitably configured switch input mechanism.In such instances, the selected auto-play pattern data, e.g., stored askey manipulation music files, once selected may be read out from theauto play control module under control of the CPU 1023. Such data maythen be fed into the RAM 1024 b and/or an auto-play controller 1034 soas to effectuate the mechanical manipulation of the appropriateactuators controlling the respective keys 240/250 that are required tobe played as called for by the notated tablature 100 of the music, suchas in conjunction with the playing of the instrument 1000. Moreparticularly, the instrument 1000 may include various mechanical controllevers, axles, cogs, pulleys, and other mechanical or impulse drivenelectrical devices configured for manipulating the physical movements ofthe various keys 240/250 and/or strings of the instrument 1000 so as toplay the notated music 100 automatically.

Additionally, the instrument 1000 may include an electronic teachingand/or playing module, such as implemented herein as an indicatorsequence controller 1035. For instance, as indicated above, in variousembodiments, the instrument 1000, housing 1001, and/or the keys and/orstrings 240/250 of the keyboard 1010 may include indicating elements1114/1119 that may be configured for assisting a person in the playingof the instrument 1000. For example, the instrument 1000 may includeindicating elements 1114/1119 that are configured for indicating whichkey 240/250 resounds which pitch of which octave 260 when manipulated,when said key should be manipulated, for how long, how quickly the keyshould be depressed, and/or how much pressure should be applied whenplaying the key 240/250, and in what order. In particular, in someembodiments, the indicating element 1114/1119 may be a lighting element1020 that is configured for lighting up while the instrument 1000 isbeing played so as to indicate what pitch of what octave 260 will besounded when a particular key or string 240/250 is manipulated, and mayfurther be configured to indicate when a particular key 240 or 250 is tobe manipulated, for how long, with what pressure, and in what sequencewhen playing a given notated piece of music 100.

More particularly, since a given instrument 1000 may be configured suchthat by the manipulation of particular keys and/or strings 240/250 thepitches of several different octaves 260 may be sounded, to make playingthe instrument easier, more intuitive, and more fun, the instrument 1000may include a plurality of indicating elements 1114/1119 such aslighting elements 1020 that light up in a manner so as to indicate whatpitch will be sounded when a given key and/or sting 240/250 is played.Hence, by lighting up, the indicating element 1114/1119 may beconfigured to clearly indicate to the player of the instrument 1000 thepitch of the note that will be sounded when any given key and/or string240/250 is played. This may be useful such as for helping a player ofthe instrument know and/or remember what pitches will be sounded byplaying any given indicated keys and/or strings 240/250. In a mannersuch as this, the player will know the pitch of the note that will besounded when any given indicated key and/or string 240/250 is played orotherwise manipulated.

For example, the keys and/or strings 240/250 that when manipulatedresult in the sounding of different pitches may be differentiated bybeing represented by note indicators 1114/1119 that are different inidentity, and those pitches that are the same in identity but belong todifferent octaves, e.g., 260 a-h, may be differentially represented invarious different manners, such as by use of different colors.Particularly, all of the keys or strings 240/250, or portions thereof,of an instrument 1000 that when manipulated resonate at a given pitch,such as a “C” note, regardless of the octave 260, may be demarcated onthe instrument 1000 by a lighting element that is in the shape of a “C.”However, where the various different notes are the same in identity,e.g., “C” notes, but from different octaves 260, all the notes that areof the same identity but of the different octaves 260 may be representedby different colors. In likewise fashion, all the “D” notes from all ofthe various different octaves 260 a-h, may be represented by a “D”, butwhere the color of the “D” symbol depends from which particular octave260 the particular “D” note is derived. This may be repeated for all ofthe E, F, G, A, and B notes, as well as for the semitones thereof, whichas indicated above may be represented as numbers, such as a 1, 2, 3, 4,or 5, but where the notes of the different octaves 260 a-h may berepresented by numbers of different colors.

In a manner such as this, the keys and/or strings 240/250, or a portionthereof, such as a lighting element 1114/1119 of the instrument 1000,which when manipulated generate pitches that belong to the same octave260, e.g., one ascending set of a C, D, E, F, G, A, B and/or a 1, 2, 3,4, and 5 notes, may be represented by the same color, whereas the keyand/or strings 240/250 of the instrument 1000 that when manipulatedgenerate pitches that belong to a different octave, e.g., 260 a, b, c,d, g, and/or f, may be represented each by a different color.Accordingly, the lighting element 1114/1119 may not only indicate theidentity of the note, e.g., by its alphanumeric designation, but mayalso indicate to what octave a particular key 240/250 or set of keysbelong, such as by lighting up in different colors, hues, shades, and/orin different characters or images. As such, the note indicators1114/1119 and/or the keyboard 1010 and/or the instrument 1000 itself maybe adapted to indicate the pitch identity of all of the individual keysas well as indicate which octave 260 out of a multiplicity of octavesany particular key 240/250 and/or note designator 114/119 correspondsto.

Hence, the note indicators 1114/1119 of the instrument 1000, as hereindescribed, may be configured and/or otherwise employed so as todifferentially represent the notes on the instrument 1000 so that itwill be clear what pitch and/or of which octave 260 will be sounded bymanipulating any particular key and/or string 240/250 of the instrument1000. Any suitable color may be used to demarcate the different octaves,such as red, orange, yellow, green, blue, indigo, violet andcombinations thereof, such as where different colors represent differentoctaves from which the note indicators 1114/1119 may be derived.Particularly, the keys and/or strings 240/250 of the instrument 1000 mayinclude a lighting element 1020 that is in the shape or form of a symbol1114/1119, such as an A, B, C, D, E, F, and G, and/or 1, 2, 3, 4, or 5,which symbol may be configured for not only indicating which pitch willbe sounded when that particular key or string 240/250 is manipulated,but further indicating to what octave that pitch belongs, and where thatkey or octave is located relatively on the instrument 1000, e.g., a leftor right hand side of the instrument, which in turn may signify withwhich hand and/or finger that key or string is to be manipulated.

Further, the symbol 1114/1119 employed in or on the instrument 1000 maybe selected so as to be the same symbol 114/119 employed in the notation100 of the music to be played so as to better equate the playing of theinstrument 1000 with the reading and/or interpreting of the music 100composed and now to be played. In such an instance, the note designators114/119 may be in the shape of letters, e.g., C, D, E, F, G, A, and B,such as to demarcate the natural tone notes, and/or may be in the shapeof numbers, e.g., 1, 2, 3, 4, and/or 5, such as to demarcate thesemi-tone notes, that are each representative of the pitches to beplayed in a composition and correspond to the key and/or stringindicators 1114/1119 that may be demarcated in the same way with thesame symbols and/or same colors, such as where the composition 100 andthe instrument 1000 is demarcated using the methods and/or templatesdescribed herein. In certain instances, images or other associatedavatars, such as cartoons representing the notes to be played can beused to demarcate the pitches to be sounded and the keys or strings tobe played.

More particularly, in various embodiments, the tablature 100 of thedisclosure may be employed along with the instrument 1000 in such amanner that the symbols used to demarcate the various notes 114/119 ofthe tablature 100 may be configured so as to correspond to the symbolsemployed by the instrument 1000, such as implemented by the form of theindicator elements 1114/1119, to demarcate the keys and/or strings240/250 that are to be played so as to sound the pitches called out bythe notes of the notated music 100, e.g., the notated notes 114/119 maybe the same as that of the corresponding indicator elements 1114/1119.For instance, the notated tablature 100 may be coupled to the indicatorelements 1114/1119, in such a manner that when a person is playing agiven notated piece of music 100, prior to playing any given note114/119 called for by the tablature 100, the indicator element 1114/1119that represents the key 240/250 that needs to be manipulated in order tosound the pitch represented by the called for note 114/119 is activated,e.g., it lights up, so as to indicate to the player that the given key240/250 is to be depressed, and in some instances, with what speed, forhow long, with what pressure, and/or in what sequence.

For instance, in some embodiments, the tablature 100 may beelectronically implemented, such that as a given note 114/119 within thetablature 100 is called out to be played by the player of the instrument1000, the note 114/119 as notated within the tablature 100 is activated,e.g., lights up, such as within a display 1036 displaying the tablature100 of the music to be played, and likewise in a corresponding fashionthe indicator element 1114/1119 of the instrument activates, e.g.,lights up, so as to indicate which key 240/250 of the instrument 1000 isto be depressed so as to play the activated notated note 114/119 ascalled for by the tablature 100. In a manner such as this, as acalled-for note 114/119 is activated within the tablature 100, thecorresponding indicating element 1114/1119 is activated, and as theindicated key 240/250 is depressed by the player of the instrument 1000,if the correct note was played, the next note 114/119 in the sequenceset forth within the tablature 100 and/or the corresponding indicatingelement 1114/1119 is activated, e.g., lit up, thereby indicating thenext note 114/119 and/or the next key 1114/1119 that is to be played inthe sequence of notes 114/119 notated within the tablature 100. In sucha manner as this, the tablature 100 is operably connected to theinstrument 1000, so as to facilitate the player's ability to play themusic on the instrument 1000 as notated within the tablature 100.Further, as described in detail above, where a key 240/250 is not playedcorrectly, the system may track this and change its mode of operation toaccommodate for correct or incorrect playing, such as by speeding up thedisplaying of note designators 114/119, such as in response to thecorrect playing, or slow the same down, such as in response to incorrectplaying.

In some embodiments, the components of the system may be configured soas to not only indicate which notes 114/119 and/or which keys 240/250 tobe played, but also to indicate for how long the notes 114/119 and/orkeys are to be played, and with what amount of pressure. For example,the note designators 114/119 and/or the indicating elements 1114/1119may be configured for indicating, e.g., lighting up, for a length oftime equivalent to the duration called for by the notated music 100.This may be implemented in any suitable manner, such as by the manner bywhich the note designators 114/119 are configured within the tablature100, and/or by the manner by which the note designators 114/119 and/orindicating elements 1114/1119 are configured for indicating, such as bybeing configured for lighting up for the period of time during which thegiven keys 240/250 are to be depressed. Particularly, the notedesignators 114/119 and/or the indicating elements 1114/1119 may beconfigured for lighting up, sounding, and/or vibrating, e.g.,indicating, for a length of time that corresponds to the length of timethe indicated key and/or string 240/250 is to be manipulated as calledfor by the notated composition 100. In a manner such as this, the notedesignators 114/119 and/or indicating elements 1114/1119 may beconfigured for indicating the duration during which a given notatedpitch is to be sounded, e.g., the length of time a given key and/orstring 240/250 is to be played.

Further, in some embodiments, the components of the system may beconfigured so as to not only indicate which notes 114/119 and/or whichkeys and/or strings 240/250 are to be played and/or for how long, butalso may be configured so as to indicate with what amount of pressurethe keys and/or strings 240/250 are to be played with. For instance, thenote indicators 114/119 and/or the indicating elements 1114/1119 may beconfigured for indicating, e.g., lighting up, with an intensityequivalent to the pressure that is to be applied to the indicated keyand/or string 240/250 as called for by the notated music 100. This maybe implemented in any suitable manner, such as by the manner by whichthe note designators 114/119 are configured within the tablature 100,and/or by the manner by which the note designators 114/119 and/or noteindicating elements 1114/1119 are configured for indicating, such as bybeing configured for lighting up with a given intensity and/or with agiven hue that can be equated to the amount of pressure that is to beapplied to the key and/or string 240/250 when playing the composed pieceof music 100.

For example, the note designator 114/119 and/or note indicator 1114/1119may be configured for lighting up for a length of time and/or with anintensity, or in a hue, that indicates the relative amount of pressurethat is to be applied to the indicated key and/or string 240/250 so asto be able to appropriately play the musical composition as notatedwithin the tablature 100. Particularly, the more pressure that isrequired to be applied to the indicated key and/or string 240/250 so asto play the note as notated within the tablature 100 may be indicated bythe greater the intensity and/or the darker the hue of the notedesignator 114/119 and/or the note indicator 1114/1119, such that thegreater the intensity and/or the darker the hue, the harder or morepressure with which the key and/or string 240/250 is to be manipulated,and likewise the lesser the intensity and/or lighter the hue, the lesspressure is to be applied, or vice versa. This may also be used forindication duration. In some embodiments, the intensity and/or hue maybe configured to start at one level and end at another level, such asgoing from greater intensity and/or darker the hue to lesser intensityand/or lighter the hue or vice versa, so as to indicate a period of timeduring which the pressure and/or duration is to change, such as fromgoing from greater to lesser pressure, or vice versa. In a manner suchas this the amount of pressure with which a note, e.g., a key and orstring 240/250, is to be indicated and/or played. The speed of playingmay also be indicated in this manner or in a likewise manner such as byflashing so as to indicate speed with which an instrument or componentthereof is to be played.

Accordingly, as set forth with respect to FIG. 6G, the system 1 may beconfigured such that a switch input circuit includes a mode switch 1038for navigating and/or selecting among several different modes, e.g., apower on/off mode 1035, a song and/or composition mode 1040, a normalplay 1042 and/or indicator mode 1043, a teaching and/or training mode1044, accompaniment mode 1046, an N mode 1048 (such as a game mode 1049)and N+1 mode 1050, and the like. For instance, the N mode 1048 and/orN+1 mode 1050 may include one or more of an auto-play mode, asynthesizer/MIDI/sound effect mode, a begin and end mode, and the like.In various instances, the mode switch 1038 allows a player of theinstrument 1000 to navigate between various modes such as a song selectmode 1052, allowing a player to select one or more songs or compositionsfrom a menu of songs and/or compositions; a normal play mode 1042 forplaying the song or composition in its natural form; an indicator mode1043 for playing in accordance with the activated indicator elements; ateaching and/or training mode 1044, for teaching a person playing theinstrument how to play and/or training the person in the correct way toplay a given selected piece and/or composition; an auto-accompanimentmode 1046, for accompanying the playing of the instrument, such as byadding embellishing features and the like; a game mode 1049, forselecting to play in one or more game modes; an N mode 1048 and/or anN+1 mode 1050, which may include an auto-play mode 1051 that effectuatesthe automatic playing of the instrument, such as in accordance with aselected song; a synthesizer/sound effect mode 1060 that allows a playerto select among various synthesized and/or sound effects that can beadded to the auto-playing or self-playing of the instrument 1000, suchas a rhythm, tempo, timbre, or other effect mode; a dual accompanimentmode 1046 that allows multiple players to accompany the self- and/ordual playing of the music, such as by following the key operations ofthe person playing the notated music; and/or selecting from one or moretraining modes 1044 for playing the instrument 1000 in conjunction withthe notated music 100 and/or with the activation, e.g., lighting up, ofthe indicator elements 1114/1119 in correspondence therewith. Acomposition mode 1040 may also be selected where the player is assistedin composing their own piece of music and/or adding embellishments oraccompaniments to music already composed.

Particularly, when playing in normal mode 1042, the player may beprompted to select a song and/or its compositional elements; a playerskill level mode 1054, such as for selecting from beginner,intermediate, advanced, and/or expert level; and/or a sensitivity level1058, such as for selecting a sensitivity of play and/or reaction level.The player may also select to optionally have the indicator elementsactivated if desired. Additionally, when selecting from a teachingand/or training prompt, the player may turn off the self play modeand/or the accompaniment mode and/or the automatic play mode, and thelike, or may play with one or combination of these modes turned on.Further, in the teaching and/or training mode, the player may be askedto select a player skill level 1054, such as from beginner,intermediate, and/or advanced; and/or a difficulty level 1056, such asfrom easy to medium to difficult and very difficult. While in theteaching mode the system may be configured for teaching the player howto play the instrument, e.g., piano, and/or the selected musicalcomposition, such as in accordance with the selected levels ofdifficulty etc., such as by the indicator elements activating in amanner so as to indicate which key and/or string 240/250 is to bemanipulated, when, for how long, with what pressure, and in what orderso as to play the selected music with the selected configurations. Ananalysis of the playing and an evaluation may also occur as well as ateaching dialog that may be presented in response to the analysis andevaluation of the playing. Such teaching may be computer generated orpresented by a teacher, such as remotely.

Likewise, when presented with an accompaniment and/or game mode, theplayer may be prompted to select a single player or multi-player modeand/or among an intranet 1062 or internet connection 1064 to allowmultiple players to play within a given location or remotely from oneanother. For instance, the player may select to play along with computergenerated or second or third player accompaniment, or in a dueling playmode against the computer or a second player or more, such as via anintranet or internet connection, each with the ability to select theirown configurations and level of difficulties while playing together oragainst one another. Again, as like in all other modes, the indicatingelements 1114/1119 and/or teaching and/or auto play modes may beactivated or disabled while in this mode. In such instances, theprocessor 1023 may be configured for communicating with one or moreremote processors such as at a remote, e.g., centralized, serverlocation or at another player's location.

A beginner or easy mode may result in a configuration that allows theplayer to more easily play the piece such that the system is moreforgiving and/or gives more frequent and/or longer lasting prompts,where an intermediate, advanced, and/or expert or more difficult modemay result in increasing levels of difficulty when playing the piece anda shorter number and/or duration of prompts with a more critical scoringof successfully playing the musical composition. Additionally, a usermay further select from a menu, such as a mechanics of play menu 1066that allows the user to select from options such as related to thevarious mechanics of playing the selected musical composition, such asthe pitch or tone modulation, melody or rhythm modulation, sound effectsor embellishments added or modulated, as well as the modulation of theother characteristics of the music as herein described. For example, thetone generator 1031 and/or sound effects system 1036 and/or MIDI systemmay be selectively employed to add various musical characteristics tothe song being played either automatically, generated by the system inaccordance with the playing or as directed by the user of theinstrument.

In various embodiments, the system may be configured for automatic play,which may simply be the generating of the sounds required to play agiven piece of music and/or may involve the indicating elements1114/1119 activating in response to the music played and/or may includethe mechanical activators required to actually move the respective keysand/or strings 240/250 that are necessary so as to actually mechanicallyplay the music. In this and other instances, the selected music may comefrom a library of music, such as stored in the memory 1024 of thesystem, or it may be downloaded from a remote database, accessible suchas over the internet. In such an instance, the system may be configuredfor receiving the downloaded music, transcribing, e.g., notating, it inaccordance with the tablature system presented herein, and may furtherbe configured for employing it within the present system to show and/orteach a user of the instrument 1000 how to play the downloaded and/ortranscribed, e.g., noted, song, such as by implementation of the correctindicator elements 1114/1119, automatic play, and/or teaching modes. Invarious instances, the system may be configured to detect audio signalsfrom the environment, identify the song, and search and locate the songand its composition from an onboard or remote database, such as a musicstorage and/or play database, e.g., an online music database.

Once a song and a mode by which to play the song has been selected, saidselections may be conveyed to the microprocessor 1023, and thedeselected song and mode may be uploaded to one or more microprocessors,such as processor 1023, such as from one or more memories, e.g., thememory 1024, the selected song play mode may be initiated. For instance,where an accompaniment 1032, auto-play 1034, and/or teaching 1035 mode,and/or an indicator-on mode is selected, the musical data for themusical piece chosen, such as from a bank of songs stored in the ROM1024 b or a remote database of songs, and the control instructions fordirecting the operations of the designated mode, e.g., the auto-play,self-play, accompaniment, and/or teaching modes may be configured and/orread out into an the RAM 1024 a for the preparation of playing of themusical piece, e.g., in accordance with its configuration.

During such play modes, the various indicator elements 1114/1119, e.g.,lighting elements 1020, for the various keys and/or strings 240/250corresponding to the notes being played may be successively activated,e.g., lit up. Hence, in such an instance, the player may be assisted inhis or her playing of the piece 100 such that prior to manipulating thekeys 240/250 called for by the configured and/or notated musicalcomposition 100, the associated indicator elements 1114/1119, and orother associated system and/or musical effects, may be configured, ifnot already configured with respect to the following, and/or activatedso as to indicate that the respective key and/or string 240/250 is to bemanipulated, and/or for how long, and/or with what pressure, and/or withwhat accompaniments, and/or effects.

More particularly, an exemplary method for implementing such a processin accordance with the devices and systems herein described is presentedin FIG. 6H, and may include one or more of the following steps. In abeginning step 800 a song 100 to be played by the instrument 1000 may beselected and subsequently displayed, such as on an electronic displaydevice 1037, which may be operably connected to the instrument 1000,such as directly attached therewith, e.g., as to be one piece therewith,and/or over a network 200. Particularly, the instrument 1000 to beplayed and/or the display device 1037 may include and/or be operablyconnected to a CPU 1023, which CPU may be configured for retrieving andexecuting instructions, e.g., from the memory 1024 or other searchabledatabase, such as instructions related to musical and/or performanceand/or configuration data. For instance, in step 800, the display device1037 may display a menu, such as a menu of songs that are capable ofbeing selected such as by an appropriately configured selector switch1035 and played on or by the instrument 1000 by the player(s) and/orautomatically.

Once selected, in a further step 805, the CPU 1023 may operate to searchand pull the selected song 100 from a memory 1024, such as a ROM 1024 a,and/or the selected song may be transferred to RAM 1024 b, such as forrapid access of data and/or executable instructions. For example, once asong 100 is selected from the menu, the tablature 100 for the selectedsong may be configured and/or presented and displayed on the screen ofthe display device 1037, e.g., a capacitive sensing and/or touch screendevice. Accordingly, the tablature 100 may be represented electronicallyand may be configured so as to electronically display the various notes114/119 of the composed musical piece, such as within the tablature 100.

Further, in an additional step 810, the display 1037 and/or tablature100 may be operably connected to the instrument 1000, such as through anetwork connection 200, or other connection, e.g., 1022, to the CPU1023, such that as a note designated 114/119 to be played is activated,e.g., lit up, within the tablature 100, a corresponding indicatorelement 1114/1119 on the instrument 1000 may be activated, e.g., lit up,so as to indicate to the player which particular key 240/250 is to beplayed in correspondence to the activated note 114/119 as notated withinthe music 100. Hence, as a note 114/119 designated to be played isspecified within the tablature 100, the indicator element 1114/1119associated with the key 240/250 that when manipulated sounds thecorresponding pitch for that note 114/119 is activated, so as toindicate to the player that the indicated key 240/250 corresponding tothe notated note 114/119 should be played. In a manner such as this, aplayer of the instrument 1000 may be assisted in performing a musicalpiece 100, such that in one or more additional steps 820, as eachparticular note 1114/1119 is played on the instrument 1000, the nextsubsequent note 114/119 is then activated and/or displayed within thetablature 100 and/or further indicated within the instrument 1000 so asto indicate the next key 240/250 within the musical sequence is to bemanipulated so as to play the notated musical composition 100.

Particularly, the system may be set up such that as a key 240/250 ismanipulated, it may be determined in step 820 whether or not themanipulated key 240/250 was the appropriate key 240/250 to be played,e.g., it may be determined whether the key 240/250 played sounds thepitch called for by the notated tablature 100. For instance, in step822, as a pitch is sounded by the manipulation of a key 240/250 of theinstrument 1000, it may be determined whether that sounded pitch is thenote 114/119 called for by the tablature 100. More particularly, thesystem may be configured such that the identity of a note played may bedetected and/or otherwise determined by the system or a componentthereof, e.g., the instrument 1000. For example, in step 822, the systemmay be adapted so as to sense or otherwise determine, if an appropriateor inappropriate pitch has been played, by detecting the movement of thea 240/250, such as via the activation of a suitably configured keystrokeactivation circuit 1034, or by determining that a note 114/119 havingthe appropriate pitch has been sounded, or other like manner fordetermining if the appropriate key 240/250 has been played. Hence, instep 820, once a note 114/119 has been indicated as to be played in thetablature 100, e.g., the electronic tablature, and a player of theinstrument 1000 has played a selected key 240/250, the system may thendetermine in step 822 if the played key 240/250, was the right key to beplayed as called for by the tablature 100. If the correct key 240/250was played and/or the correct note was sounded, the system may loadand/or otherwise display, in step 840, the next note 114/119 in thesequence of notes within the composition 100 that is to be played, andthese steps may be repeated.

Additionally, in various instances, such as in step 824 the system mayalso determine whether the key 240/250 played was translated with theappropriate acceleration or speed. Further, in step 826, it may bedetermined whether the key 240/250 was held down for a long enoughduration. Further still, in step 828 it may be determined whether thekey was pressed with the appropriate pressure. For instance, if the key240/250 played was the appropriate key to be played as notated as instep 822, and/or it was played with the appropriate speed oracceleration, as in step 824 and/or it was played for the appropriateduration in step 826, and/or played with the appropriate pressure, as instep 828, and/or in step 829 it is determined that the right sequence ofkeys was played, then the keystroke activation circuit 1034 detects theappropriateness with which the key 240/250 was played and instructs thesystem, in step 840, to activate and/or display the next note 114/119 tobe played within the sequence of notes within the tablature 100 and/orinstructs a suitably configured indicator control unit 1036 to activatethe next corresponding key 240/250 associated indicator element1114/1119 so as to indicate the next note 114/119 and/or pitch to besounded as called for by the notated tablature 100 and/or to be playedby one or more of the players or automatically, e.g., in automatic playmode. In such an instance, one or more of these steps may be repeatedsuch as until the song has been completed, an error was determined,and/or the player has ceased playing.

However, if the wrong key 240/250 is played, and/or it is played withthe wrong acceleration or speed, and/or is played for the wrongduration, and/or with the wrong pressure, this may be determined in step830. Particularly, in step 832 it may be determined if the wrong key240/250 was played and/or the wrong note sounded. In step 834 it may bedetermined whether the key 240/250 played was translated with the wrongacceleration or speed. Further, in step 836, it may be determinedwhether the key 240/250 was held down for the wrong duration. Furtherstill, in step 838 it may be determined that the key was pressed with aninappropriate amount of pressure. For instance, if the key 240/250played was the wrong key to be played as notated, as in step 832, and/orit was played with the wrong speed or acceleration, as in step 834and/or it was played for an inappropriate duration in step 836, and/orplayed with the wrong amount of pressure, as in step 838, and/or in awrong sequence 840, then the keystroke activation circuit 1034 detectsthe inappropriateness with which the key 240/250 was played andinstructs the system, in step 850, to correct or auto-correct and/or toload the next note in the sequence 840, such as once the player and/orplaying is back on track, e.g., corrected.

For example, in step 850, the system may include an auto-correctfunction 1034. The auto-correct control circuit 1034 may be activated soas to correct and/or teach the player the appropriate way to play theinstrument for the particular composition being played. For instance,when an inappropriate event occurs in the playing of the composition, asin step 830, a suitably configured register, such as within theprocessor 1023, may be activated to keep track of the deficiency suchthat one of several sub-routines may be initiated so as to help theplayer get back on track and/or better play the song presently or thenext time it is selected to be played on the instrument 1000 for thatsame or a different player.

Particularly, when the player is pressing the keys or otherwise playingtoo slow or too fast, and/or not for the appropriate duration, and/ornot with the appropriate pressure, in step 850, the notation 100 and/orkeys 240/250 and/or associated note designators 114/119, and/or noteindicators 1114/1119 may be configured to mechanically and/orelectronically slow down or speed up and/or apply the right pressure,for the right amount of time, e.g., mechanically or electronically, sothat the movements and/or activations of the various components of thesystem, e.g., keys and/or indicator elements, so as to help the playercompensate for such inaccuracies. This may be accomplished in severalsuitable fashions depending on the type of errors received. An analysisand/or teaching mode may also be initiated whereby the system theninstructs, e.g., via a displayed teaching instruction, video, audio, orthe like, such as in step 852 by initiating an auto-play function 1033,which in said auto-play function 1033, the appropriate keys 240/250 maybe mechanically or electronically operated in the appropriate fashion,e.g., until the player catches up or slows down in his or her playing ofthe instrument 1000. Or in step 854, by speeding up and/or slowing downand/or changing the activation or operation of the note designators114/119 and/or note indicators 1114/1119 so as to accommodate theplayer's abilities. In various instances, in step 856 an auto- orself-regulated duration and/or pressure function may be initiated toteach or otherwise ensure the correct key duration and/or pressure isapplied to the keys, e.g., in the correct manner and at the correcttime. Additionally, in step 858, any deficiencies in playing may betracked, recorded, and/or played back, such as in the teaching and/orauto-correct and/or auto-play mode 1034.

In certain embodiments, the electronic devices and/or instrumentsdescribed herein are capable of communicating with each other via anetwork (e.g. intranet or internet, e.g., via cloud) that is facilitatedby a remote data server hosting a web portal. This network connectivitybetween electronic devices and instruments may allow interaction betweenthe users of the electronic devices and instruments by providing songs,games, and other scorekeeping or score tallying functions, therebymotivating enhanced enjoyment, increased practice of the electronicinstrument, as well as a more firm commitment to mastering the playingof the instrument. For example, as depicted in FIG. 7A, a web portal1100 hosted by a data server 1102 may allow multiple users to havenetwork access to songs, games, and other media content, as well as theability to communicate with each other. The data server 1102 isconnected with a database 1104 that may hold a variety of data, such assong data, technical play data, embellishment data, and/or user accountinformation and historic play data. In some embodiments, more than onedata server 1102 may be utilized, such as a server farm or bank in whichsome servers are dedicated to hosting the web portal 1100, some containthe database 1104 and/or other databases, and other servers run specificapplications, such as the game and/or competition applications describedherein or related thereto. Data server 1102 is connected with contentmanagement application 1106 that allows an administrative user to add,remove, and/or modify data in database 1104.

First instrument 1120 and second instrument 1130 may be musicalinstruments, such as those described herein, having keys withindicating, e.g., lighting elements, sensors, receivers, transmitters,etc. (see, e.g. FIG. 6A-H described above). First instrument 1120 may beassociated with a processing unit 1124 and a display 1126 via acommunications module 1122. Communications module 1122 may be connectedwith first instrument 1120 with a wired or wireless connection. In someembodiments, the processing unit 1124, communications module 1122, anddisplay 1126 may be part of a single computing device, such as a tablet,smartphone, or laptop, or one or more may be separate devices. In someembodiments, the instrument may include display 1126, or may includeanother display in addition to display 1126, such as one displaydepicting the tablature of the music to be played and the otherdepicting a game mode screen that ties the playing with progress througha game screen, such as a video game. Similarly, second instrument 1130may be in data communication via a wired or wireless connection with thesame or another communications module 1132 that allows communicationwith processing unit 1134 and display 1136. Communications modules1122/1132 also allow network access (such as via an internet serviceprovider) to web portal and thus to song tablature, MIDI files, audiofiles, image files, and other media in database 1104.

An administrative user having a content input device 1110 (e.g. tabletcomputer, laptop, mobile computing device, phone, etc.) can uploaddigital content via web portal 1100 for storage in database 1104. Suchcontent may include composed music that has been notated in accordancewith the teachings above. Content input device 1110 may be associatedwith a content input device 1112, containing song tablature, song MIDIfiles, audio files, image files, game applications, and other media, aswell as a media engine 1114, an editor 1116, and a media display loop1118. In some embodiments, media engine 1114, editor 1116 and mediadisplay loop 1118 may be hosted on data server 1102. An administrativeuser may browse content input device 1112 for content to upload to dataserver 1102 using media engine 1114. Editor 1116 may be used to createand/or edit media files and content. Once database 1104 has one or moremedia files, in some embodiments, media display loop 1118 receives mediafiles from media engine 1114 and presents the media files in a streamingdisplay to a user via web portal 1100. For instance, a list of songs tobe played may be presented in the data loop indicating to a user that aselected song may be uploaded into the display and be available to play,such as by double-clicking on the image within the media display loop.

A user accessing web portal 1100 via communications module 1122 or 1132may browse media files in database 1104 using media display loop 1118,or by using a search function. The user may browse for song tablature,MIDI song files, song tablature associated with MIDI song files, audiofiles, as well as games that may be played using first or secondinstrument 1120/1130.

Communications modules 1122 and 1132 each communicate data regardingactivation of first and second instruments 1120/1130 to web portal 1100,allowing reciprocal display of that activation to the display of theother instrument. For example, activation of a key on first instrument1120 may cause transmission of data on key activation characteristics(e.g. designation of key pressed, duration, pressure used, etc.) viacommunications module 1122 to web portal 1100. Web portal 1100 may thentransmit data regarding the key activation characteristics of firstinstrument 1120 to communications module 1132 of second instrument 1130,which in certain instances may be the same communications module. Thatdata may then be shown on display 1136 of second instrument 1130.Communication via web portal 1100 allows two or more users to assesseach other's playing of their electronic instruments.

In some embodiments, a user (e.g. a user of first instrument 1120) mayaccess web portal 1100, select a game and/or song from media displayloop 1118, and invite at least one other user (e.g. a user of secondinstrument 1130) to access the same game or song, so as to be displayedand/or played jointly. Game play may be controlled by activation offirst electronic instrument 1120 and second electronic instrument 1130,and progress in the game may be assessed via web portal 1100, as masterservant relationship may be established as necessary, such as the gameinitiator being the master device. In certain embodiments,communications module 1122 for first instrument 1120 and communicationsmodule 1132 for second instrument 1130 may communicate directly (e.g.,via a direct wired or wireless connection or via an intranet network)without web portal 1100.

In some embodiments of the systems and hardware described herein,musical notation such as that shown in FIGS. 3A-3C and described abovemay be displayed on a display of a user in conjunction with activatingindicator elements, e.g., lights, on the user's display and/orelectronic instrument to prompt a user to activate or press theinstrument's keys, so as to play the notated composition and/or therebyadvance the playing of the game. FIG. 7B shows a flow chart for anexemplary method of displaying music notation and activating keyindicators on an electronic instrument. At step 1140, a user instructsan application to begin displaying musical notation at a preselectedtempo, either using a button, switch, or key on the electronicinstrument, or using a computing device in communication with theelectronic instrument (e.g. tablet computer, smartphone, laptop, etc.).The application may be executed by the computing device or by anetworked server (see, e.g. FIG. 7A).

At step 1141, the software provides machine-executable instructions forthe user's display to show one or more note designators on display inaccordance with a selected composition to be played. In certaininstances, the size of the note designator designates the length of timea note is to be played, the number of note designators indicates thenumber of notes to be played, and/or the color of the note designatorindicates the octave at which a note is to be played. Pressure withwhich the note is to be played may be indicated, as above, such as byintensity of color or movement of the note designator.

At step 1142, machine-executable instructions are also sent to anelectronic instrument, instructing the electronic instrument to activateone or more indicating, e.g., light, elements associated with one ormore corresponding keys on the electronic instrument. The instructionsmay include parameters that affect the characteristics of the one ormore light elements being activated, corresponding with characteristicsof the one or more notated notes, such as the intensity, color, and/orlength of time the light is activated. At step 1143, the electronicinstrument activates one or more light elements on the correspondingkey.

The computing device (or server) waits for key activation from theelectronic instrument at step 1144. Once a user activates a key on theelectronic instrument, the application compares data related to thecharacteristics of the key activation with desired parameters of keyactivation associated with the one or more notated notes, such aswhether the correct key was activated, whether the key was activated atthe right moment in time, for a sufficient duration, and/or withsufficient amount of force. In some instances, activation of any key onthe electronic instrument may result in a sound being triggered by keyactivation at step 1148, either by the electronic or acoustic instrumentand/or by the computing device.

If the application determines that the key was activated within certaindefined parameters at step 1146 a, then at step 1147 a, an indicator ofkey activation success may be shown on the display. Indicators of keyactivation success may include an increase in a point tally, theappearance or disappearance of an icon, and/or movement of images on thedisplay. If the application assesses that the key was not activatedwithin certain defined parameters (or not activated at all) at step 1146b, then at step 1147 b, an indicator of key activation failure may beshown on the display or otherwise indicated on the instrument.Indicators of key activation failure may include a flash of the display,a deduction (or no increase) from a player tally, display ordisappearance of an icon, or avatar, and/or non-movement of images onthe display. At step 1149, the application may add points to and/ordeduct points from a player tally for key activation data that lieswithin and/or outside of each note designator parameter, respectively.At step 1150, the player tally may then be updated on the displayassociated with the electronic instrument to notify the user of his orher progress.

In some embodiments, the application may identify how far outside eachof the parameters the key activation data lies. The application mayadjust the display corresponding to the degree to which key activationdata is outside a given parameter. For example, the application mayprovide more points to a player tally for a key activated with forcethat is slightly below the force parameter, than a key activated withforce much farther below the force parameter.

A number of parameters may be met to be awarded full points. The numberof measured parameters may be any suitable number but will generallyinclude characteristics such as playing the correct note, playing thenote at the correct time for the correct duration and with the correctamount of pressure. In such an instance, where points are to beallocated for activating a key on the electronic instrument, full pointsor more points are awarded for meeting all characteristic parameters,whereas less or no points will be awarded for not meeting all of thecharacteristic parameters. For example, if there are four characteristicparameters that must be met to play a note correctly, there may be aquarter point allocated for each parameter met; thus if all fourparameters are met, then a full point may be awarded. If any parameteris missed, there may be a respective decrease in the points awarded, orno points awarded at all depending on the difficulty setting selected.

The music notation or tablature may be shown on in a display in avariety of methods, as shown in FIGS. 7C-7E. For example, as shown inFIG. 7C, in some embodiments, music notation may be shownsemi-statically, and presented on the display 1126 in sequentialportions, such as showing first notation portion 1152 a for a period oftime, then removing first notation portion 1152 a and showing secondnotation portion 1152 b. In certain embodiments, only individualtablature notes may be shown on display 1126. In some embodiments,depicted in FIG. 7D, the notation 1152 may stream from the right side toleft side of display 1126 (see arrow pointing left), thereby presentingthe notation to a user from left to right at a rate reflecting aselected tempo, or it may stream downwards, from top to bottom, as iffalling.

In the embodiment depicted in FIG. 7D, bar lines 132 a and 132 bseparate measures of the notation 1152. Such embodiments may include anote-moment indicator 1154 that emphasizes one or more notes and/orrests for a user to play (or not play, in the case of rests) at aspecific time that reflects a selected tempo for the notated song.Note-moment indicator 1154 is depicted in FIG. 7D as a downward-pointingarrow, but may be a bracket or other symbol, an area of increasedbrightness on the display, an area where the notes are presented as morein-focus than other nearby notes, and/or an area in which eachindividual note increases in size and/or intensity as the tablaturestreams across the display. In other embodiments, the note-momentindicator may move horizontally or vertically along static musicalnotation being displayed. FIG. 7E shows a diagram of another embodimentof a streaming display in which notation 1152 streams from the rightside to the left side of display as well as moving from the top ofdisplay 1126 towards note-moment indicator 1154, but this may beimplemented vertically as well. In certain embodiments, notation mayalso move from the top or bottom of display 1126 towards note-momentindicator 1154.

As described above in FIG. 7A, users may utilize a remote web portal andserver to interact with each other using electronic instruments asdescribed herein. For example, users may interact via a web portal tocompete or cooperate in games, as well as play music in cooperative orteaching modes. Users may also play an electronic instrumentcooperatively with a virtual instrument in a game or song. The variousmodes of game play and their relationships are shown in the flow chartof FIG. 8A. For example, a user may be able to select the gaming mode atstep 1200, either single player mode at step 1202, in which only asingle player using a single instrument connects with a gaming system,or multi-player mode at step 1208, in which two or more players connectwith a gaming system.

If the user has selected single player mode at step 1202, the user maybe able to select a variety of different modes of play from the singleplayer mode. For example, at step 1203, a teaching mode may be selectedthat allows a user to choose lessons and/or songs to learn. The teachingmode may display a digital tablature to a user, such as the tablaturedescribed above, and/or play audio that reflects the tablaturedisplayed. The teaching mode at step 1203 may include one or more testsin which the user plays an electronic instrument in response todisplayed tablature; if the user succeeds in playing the notes of thetablature correctly at a given tempo, the user may unlock and gainaccess to additional lessons, game levels, acquire prizes, tokens,in-game aids, or other items. In some embodiments, the teaching mode atstep 1203 may only present tablature for specific passages of a longersong. At step 1204 a game mode may be selected that allows a user toplay along with displayed tablature; the more accurately the user playsthe displayed tablature with their electronic instrument, the better theuser performs in a game that is displayed along with the tablature. Insome embodiments, a competition mode may be selected at step 1205, inwhich the user uses displayed tablature and an electronic instrument toplay a co-displayed game against a virtual opponent. An accuracy modemay also be selected at step 1206, which measures and rates the accuracyof a user playing an electronic instrument to match displayed tablatureand/or a recording of a song. In some embodiments, the rating of auser's attempt to play a song or passage of a song may be displayed as atally of points. In some embodiments, a user's score or tally may beranked with those of other users playing tablature for the same song.

A variety of gaming modes may also be selected once multi-player mode isselected at step 1208. For example, a cooperative team mode may beselected at step 1210. The cooperative game mode allows multiple usersto play songs and/or games using their networked electronic instrumentsin a cooperative manner. At step 1211, a plurality of users may enter anensemble song mode, in which a chosen song is played with complementarysong tablature being displayed for multiple users, allowing them to playa single song as group. Ensemble song mode may allow multiple users toplay as duos (two users), trios (three users), quartets (four users),quintets (five users), or even larger ensembles. The tablature for eachuser may be identical, to allow one user to teach another while playingtogether, or the may be complementary, such as complementary partswritten for multiple users to play as duet, trio, etc. At step 1212, twoor more users may enter a computer competition mode, in which the two ormore users play the same or complementary tablature together tomanipulate a game displayed along with the tablature, and competeagainst a computerized opponent. At step 1213, a plurality of users mayenter cooperative game mode, in which the plurality of users must playtogether with sufficient congruity to manipulate a puzzle or game thatdoes not require a virtual opponent, such as TETRIS.

At step 1214, two or more users may enter a competitive group mode andchoose among several sub-modes that allow for users to compete with oneanother. For example, at step 1215, two or more users may be able toselect a player vs. player mode in which the users compete against oneanother simultaneously within a game or puzzle. Each user in the playervs. player mode may play their electronic instrument in response todisplayed tablature and/or corresponding audio output to manipulate acorresponding character or object displayed in the game, so as toprogress the character through the game environment.

At step 1216, multiple users may select a team vs. team mode, in whichgroups of users compete against one another, with each group playingtogether to maximize accuracy and therefore their team's tally or score.In some embodiments, users may select a multi-player vs. recording modeat step 1217, in which two or more users play along with a recording andtry to maximize their score or tally by trying to maximize theiraccuracy in matching a recording, with or without a displayed tablature.

In certain embodiments of the multi-player modes selected at step 1208,the users may play their electronic instruments simultaneously or maytake turns playing their electronic instruments to accumulate pointsand/or manipulate tokens or characters on a game display. In embodimentsof each of the gaming modes described above, tablature may or may not bedisplayed along with the game or may be displayed on the same ordifferent monitors. In such instances, the user or plurality of usersmay need to memorize the tablature for a given song or passage and playalong with a visual or auditory cue that indicates a tempo.

FIG. 8B shows a flow chart for an exemplary method of implementing ateaching mode at step 1203 in FIG. 8A. One or more tablature notes maybe displayed to a user at step 1220 (see, e.g. FIGS. 7C-E), promptingthe user to activate a corresponding key on the user's electronicinstrument. At step 1221, the software evaluates the key played oractivated by the user is against a variety of parameters. For example,at step 1222 a, the software may evaluate whether the correct key wasplayed; at step 1222 b the software may evaluate whether the key wasplayed for the correct duration; at step 1222 c the software mayevaluate whether the key was played with the correct intensity or force;and at step 1222 d the software may evaluate whether the key was playedat the correct time. If the software determines at step 1223 that one ormore of the played-key characteristics are within predetermined keyactivation parameters, then the software returns to step 1220 andcontinues to display tablature notes and/or advance the game play mode.Adjustment of parameters for played-key characteristics may be used tochange the difficulty level of a song and/or associated game, to make itmore or less difficult in accordance with the individual's success atplaying accuracy. For example, narrowing the window of time in which akey needs to be activated concomitantly increases the required accuracyrequired for key activation by a user.

If the software evaluates the played-key characteristics and determinesthat one or more of the played-key characteristics are outsidepredetermined characteristics or parameters, then at step 1224 thesoftware may make a tablature display adjustment to indicate to the userthat the note was incorrect, and/or modify is display characteristicsthereby making playing easier. For example, at step 1225 a the softwaremay increase or decrease the tablature size. At step 1225 b the softwaremay increase or decrease the tablature display speed and/or intensity.Other aspects of the displayed tablature may also be changed asdescribed above, such as a screen flash, color change, an addedindicator proximate the incorrect tablature note (such as an arrow orbrackets). The software may then return to step 1220 and continue todisplay tablature notes. In some embodiments, the tablature display maybe adjusted for all tablature notes displayed after the softwaredetermines that a note (or notes) was played incorrectly in reference tothe tablature. For example, the tablature may remain changed in size,the intensity of the tablature may remain changed, and/or the color ofthe notes or background behind the tablature may remain changed as thetablature is displayed. In certain embodiments, the software may alsochange the displayed tablature and/or background in response to correctkeys being played, e.g. changing the tablature size, intensity, and/orcolor.

If the software determines that enough played-key characteristics areoutside predetermined parameters, at step 1226 the tablature display maybe paused or ended, and a teaching video may be displayed to the user.In some embodiments, display of a teaching video at step 1226 may beactivated when a predetermined number of keys are activated incorrectlyin relation to the displayed tablature (e.g. 2, 3, 4, 5, 6, 7, 8, 9, 10or more incorrectly activated keys).

FIG. 8C shows a flow chart of exemplary steps while in game mode at step1204 of FIG. 8A. While in game mode at step 1204, a user may entersingle player mode at step 1202, or multi-player mode at step 1208. Insome embodiments, a selected game may only have a single player mode oronly have a multi-player mode. While in single player mode, a user mayselect a teaching game at step 1230, in which tablature is displayedand/or corresponding audio is output which reflects the displayedtablature. The teaching game permits a user to begin learning to playsongs and/or song passages at slower tempos. Completion of tasks withinthe teaching game (such as on the basis of accurate playing) may allowthe user to access additional lessons, games, tokens, prizes, or otheritems.

A user in single player mode may select a competition game at step 1232,in which a user plays an electronic instrument in response to displayedtablature in order to move characters or items in a game displayed alongwith the tablature. At step 1234, a user in single player mode mayselect an accuracy game, which measures and rates the accuracy of a userplaying an electronic instrument to match displayed tablature. In someembodiments, the rating of a user's attempt to play a song or passage ofa song may be displayed as a tally of points. In some embodiments, auser's score or tally may be ranked with those of other users playingtablature for the same song.

If a user has selected multi-player mode at step 1208, they may thenselect a cooperative team at step 1240, or a competitive group at step1250. In some embodiments, a user may be able to view a listing ofavailable multi-player games that need additional players in order tobegin. In certain embodiments, a user can invite other users to acooperative game. A user participating with a cooperative team at step1240 may be able to select an ensemble song at step 1242, allowing twoor more users to play a single song together, increasing the cooperativeteam's score or tally by playing the song accurately. Ensemble mode mayallow multiple users to play as duos (two users), trios (three users),quartets (four users), quintets (five users), or even larger ensembles.At step 1244, a user may select a computer competition game, in which agroup of users compete in a game against a computer opponent by playingidentical or ensemble tablature for a song as accurately as possible. Atstep 1246, a user may select a cooperative game or puzzle in which eachuser plays identical or ensemble tablature to manipulate a puzzle orgame that does not require a virtual opponent, such as TETRIS.

If a user selects a competitive group at step 1250, a user may select aplayer vs. player game at step 1252. In a player vs. player game, two ormore users may play their electronic instrument in response to displayedtablature and/or corresponding audio output to manipulate acorresponding character or object displayed in the game. Users may alsoselect a team vs. team game at step 1254, in which two or more teams ofusers compete within the game by accurately playing tablature displayedin the game along with the gaming display. Users within a given teamcooperate with each other to beat another team. The song tablaturedisplayed may be identical for players within a team, or across allparticipating teams. In certain embodiments, ensemble tablature may beassigned or chosen by users when playing the team vs. team game. At step1256, users may select a multi-player vs. recording game, in which twoor more users play along with a recording and try to maximize theirscore or tally by trying to maximize their accuracy in matching arecording, with or without a displayed tablature.

FIG. 8D shows a schematic diagram of exemplary teaching games 1260.Teaching games 1260 may be displayed along with song tablature, and mayinclude items or avatars that successfully navigate obstacles oropponent characters with sufficiently accurate playing of an electronicinstrument to correspond with the displayed song tablature. Teachinggames 1260 may include games such as PACMAN 1261, in which a user'scharacter or avatar moves around a maze eating dots while avoidingnon-user characters that attack the user's character. Increased playingaccuracy by a user may be interpreted by the game as movement to eat theobjects and avoidance of the non-user characters. Another exemplary gameis DONKEY KONG 1262, in which a user's avatar avoids objects fallingdown a series of ramps in order to reach the top of the screen. PITFALL1263 is another obstacle-avoidance game that may be used as a teachinggame. In PITFALL 1263, a user's avatar jumps and swings over obstaclesand opens doors and chests to find treasure. CHUTES AND LADDERS 1264 isyet another game that may be utilized as a teaching game. Increasedplaying accuracy may lead a user's avatar to climb up successive levelsto the top of the display, while decreased playing accuracy by a usermay allow the user's avatar to fall down chutes or slides. TETRIS 1265is a tile-matching game in which groups of four blocks in differentconfigurations move from the top to the bottom of a display and must bematched to form at least one solid block. Increased playing accuracy bya user may increase the effective matching of falling blocks whiledecreased playing accuracy may decrease the effective matching of thefalling blocks. SPACE INVADERS 1266 is still another game that may beused as a teaching game. In SPACE INVADERS 1266, a user's avatar shootsgroups of non-user characters in order to acquire points and advance tofurther levels. Game play of SPACE INVADERS 1266 may allow increasedmovement and more accurate shooting of non-player characters withincreased playing accuracy, as well as decreased movement and lessaccurate shooting of non-player characters with decreased playingaccuracy. Other suitable game modes may include CANDY CRUSH, WORLD OFWARCRAFT, POKEMON GO, and the like, where advancement through the gameis conditioned upon the accuracy of playing. In some embodiments,teaching game 1260 may be a character or scene animation 1267 that isdisplayed as playing accuracy increases. In certain embodiments, a video1268 may be displayed when a user's playing accuracy rises above acertain threshold level. In some embodiments, the complexity of anabstract design 1269 may increase with increased playing accuracy by auser, and decrease with decreased playing accuracy of a user.

In various embodiments of the systems described herein, competitivegames between multiple users or between a user and a computer may beaccessed via a cloud network. FIG. 8E shows a flow chart of an exemplarymethod for a user to select competitive games using systems describedherein. A competitive game mode may be selected at step 1270, allowingthe user to further select from several gaming options. At step 1205, auser may select a player vs. computer mode, in which the user plays anelectronic instrument in response to displayed tablature to accumulatepoints and/or move avatars and objects on a co-displayed game screen,while competing against a computer-generated opponent. At step 1206, auser may select a player vs. tablature mode, in which the user activatesthe keys of an electronic instrument in response to displayed tablaturewhile trying to maximize the accuracy of the notes being played. L. Insome embodiments of a player vs. tablature mode, the speed or rate atwhich the tablature is displayed may increase as the user advances tohigher levels. In certain embodiments, of player vs. tablature mode, thedifficulty of the song may increase as the user advances to higherlevels. At step 1207, a user may choose a player vs. recording mode, inwhich the user tries to play along with a recording of a previouslymemorized song. A user in player vs. recording mode may acquire pointswith increased accuracy of playing along with the recording, or the usermay lose or fail to gain additional points for decreased accuracy ofplaying along with the recording.

At step 1215, a user may enter a player vs. player mode, in which two ormore users may compete against each other by playing their electronicinstruments or devices. For example, at step 1272 a, two or more usersmay select an ensemble song (such as a song with multiple parts, or eventhe same song) to play together while trying to maximize playingaccuracy in relation to displayed tablature. At step 1272 b, two or moreusers may compete against one another by one user playing a song foraccuracy with displayed tablature, and then the other user playing asong for accuracy with displayed tablature. The songs played by eachuser may be transmitted to the non-playing user as key activation data(e.g. MIDI data) or a sound file. In some embodiments, the non-playinguser may also see the playing user's tablature as it streams, arepresentation of keys being activated by the playing user, and changesin the playing user's tally or score. The songs played by the two ormore users may be the same song or different songs, and may have thesame or different difficulty levels. In addition to player vs. player,at step 1216, a user may select a team vs. team mode, in which groups ofusers play together as a team and compete against other teams. The songsplayed by each team may be a song having a single part that is played inunison, or it may be an ensemble song having different parts.

FIG. 9A shows a schematic diagram of a music gaming system 1300, thesystem including a music server 1301 that communicates with instruments1310 a (controlled by a first player) and 1310 b (controlled by a secondplayer). Music server 1301 provides game and tablature data 1306 a and1306 b to the respective first and second players via network 1304. Thegame and tablature data may be provided directly to instruments 1310 aand 1310 b, or via a separate computing device such as a tablet orlaptop computer. In some embodiments, the game and tablature data 1306a/b may pass through instruments 1310 a and 1310 b to a separatecomputing device (e.g. tablet or laptop computer). The game andtablature data 1306 a and 1306 b may be provided to displays 1308 a and1308 b of the first and second players, allowing the first and secondplayers to see and react to the tablature and/or game. The game andtablature data 1306 a and 1306 b may also be provided to instruments1310 a and 1310 b, thereby activating, e.g., lighting, and/or mechanicalfeedback mechanisms on instruments 1310 a/b. As the first and secondplayers activate keys on their respective instruments 1310 a/b,performance data corresponding to the instrument key activation iscommunicated back to music server 1301 via network 1304. In someembodiments, the performance data 1312 a/b may communicate indirectlywith music server 1301 via a separate computing device. Music server1301 may then communicate performance data 1312 a/b with a playevaluator 1302 (such as an application either executed by music server1301 or another server or computing device). The play evaluator 1302then evaluates performance data 1312 a/b against tablature data 1306a/b, allocates points to each player based on playing accuracy, and thenmodifies the game play and/or a displayed tally for the first and secondplayer via network 1304 to displays 1308 a/b.

FIG. 9B shows a schematic diagram of an exemplary instance of singleplayer 1320 interacting with a game server 1301. Game server 1301provides single player 1320 with tablature 1322, for example to acomputing device with a display (not shown). Single player 1320activates keys on the instrument 1310 that correspond with tablature1322, and send activation data regarding the accuracy 1326 of singleplayer 1320. Accuracy data regarding the timing 1327 a of keys activated(either in relation to each other and/or in relation to a metronomictiming signal), the intensity 1327 b or force exerted on activated keys,the clarity 1327 c of keys activated on instrument 1310 (e.g. thecombination of intensity 1327 b and timing 1327 a), and/or thecorrectness 1327 d of the keys activated may be communicated back togame server 1301. Accuracy 1326 is communicated back to game server 1301and analyzed by accuracy analyzer 1316 (e.g. an application or set ofmachine-readable instructions on game server 1301).

Points are allocated by points allocator 1317 (e.g. an application orset of machine-readable instructions on game server 1301) to a tallybased on the results from accuracy analyzer 1316. The number of pointsallocated may vary based on speed 1328 selected by single player 1320 inmode of play 1324, as well as song difficulty 1330. For example, singleplayer 1320 playing a song with higher song difficulty 1330 and/or speed1328 may be allocated as many or more points than if single player 1320were to play a song with lower song difficulty and/or at a slower speed1328. In some embodiments, game server 1301 may increase or decrease thedifficulty level 1318 of the tablature being streamed to single player1320 based on corresponding increases or decreases in accuracy detectedby accuracy analyzer 1316 and/or points allocated by points allocator1317. In some embodiments, the difficulty of songs and tablature may bechanged by reducing or adding notes to the song, without changing thebasic melody and/or harmony of the song. By increasing song difficultywithout using a completely different song, a user may be able toincrease his or her playing skills, such as by adding embellishments andflourishes, without having to learn or read completely different songs.

FIG. 9C shows a flow chart illustrating exemplary interactions of thepoints allocator 1317 and accuracy analyzer 1316 of FIG. 9B. Tablatureis displayed and/or a recording is played at step 1340, such as on auser's tablet or laptop computer. A user (e.g. single player 1320) theninterprets the displayed tablature and activates instrument keys and/orstrings at step 1342. Data from the key and/or string activation iscommunicated to accuracy analyzer 1316. At step 1344, accuracy analyzer1316 may compare the displayed note(s) (from the tablature) with theplayed note(s) and determine whether the key(s) and/or string(s) wereplayed correctly. If the note or notes were not played correctly, i.e.played outside predetermined parameters, then at step 1345 a theaccuracy analyzer 1316 may communicate with points allocator 1317 todecrease the count in counter 1352 by one. In some embodiments, thecount may not be changed at step 1345 a, instead of decreasing thecount. In certain embodiments, the count may be reduced by more than oneat step 1345 a, to reflect the reduced level of accuracy of the user. Ifthe key(s) and/or string(s) are determined to have been playedcorrectly, then at step 1345 b the accuracy analyzer 1316 maycommunicate with points allocator 1317 to increase the count in counter1352 by one. In various embodiments, at step 1345 b the count may beincreased by more than one, to reflect the high level of accuracy of theuser.

In some instances, recorded music may be played to a user instead of, oralong with, displayed tablature. In such instances, at step 1348accuracy analyzer 1316 may compare the record note(s) with playednote(s) to determine if the key(s) and/or string(s) of the user'smusical instrument were played correctly, such as in accordance with thecomposed song. If the key(s) and/or string(s) were not played correctly,then at step 1349 a the accuracy analyzer 1316 may communicate withpoints allocator 1317 to decrease the count by one. In some embodiments,the count may not be changed at step 1349 a, instead of decreasing thecount. In some embodiments, the count may be reduced by more than one,to reflect the reduced level of accuracy of the user. If the key(s)and/or string(s) were played correctly, then at step 1349 b the accuracyanalyzer 1316 may communicate with points allocator 1317 to increase thecount by one. In certain embodiments, the count may be increased by morethan one, to reflect the high level of accuracy of the user.

In some embodiments, the accuracy analyzer may also determine if amusical embellishment was added at step 1346, whether analyzing playednotes against tablature or a recording. Embellishment or ornamentationrefers to notated or improvised musical flourishes around a given noteor group of notes, such as a trill, mordent, turn, appoggiatura,acciaccatura, glissando, schleifer, bends, ghost note, or otherornamentation. If the accuracy analyzer determines that embellishmentwas not added, then at step 1349 a, no count is added to counter 1352.If the accuracy analyzer does determine that an embellishment was added,then the count may be increased by one at step 1347 b. In someembodiments, the count may be increased by more than one at step 1347 b.

Points allocator 1317 receives communications from accuracy analyzer1316 and adjust points accordingly in counter 1352, as described above.As counter 1352 is modified to reflect increases and decreases in userplaying accuracy, the server (not shown) may communicate with acomputing device or the instrument of the user to display adjustedpoints total based on the count at step 1354.

Some or all of the steps and operations associated with the techniquesor methods introduced here may be performed by hardware components ormay be embodied in non-transitory machine-executable instructions thatcause one or more general purpose or special purpose computer processorsprogrammed with the instructions to perform the steps. Themachine-executable instructions may be stored on a computer-readable ormachine-readable medium. The steps may be performed by a combination ofhardware, software, and/or firmware. In some cases themachine-executable instructions may be downloaded from a server, from awebsite, and/or from an application store or an app store.

While this disclosure contains many specifics, these should not beconstrued as limitations on the scope of an invention that is claimed orof what may be claimed, but rather as descriptions of features specificto particular embodiments. Certain features that are described in thisspecification in the context of separate embodiments can also beimplemented in combination in a single embodiment. Conversely, variousfeatures that are described in the context of a single embodiment canalso be implemented in multiple embodiments separately or in anysuitable sub-combination. Moreover, although features may be describedabove as acting in certain combinations and even initially claimed assuch, one or more features from a claimed combination can in some casesbe excised from the combination, and the claimed combination may bedirected to a sub-combination or a variation of a sub-combination.Similarly, while operations are depicted in the drawings in a particularorder, this should not be understood as requiring that such operationsbe performed in the particular order shown or in sequential order, orthat all illustrated operations be performed, to achieve desirableresults.

Although embodiments of various methods, apparatuses, devices, andsystems are described herein in detail with reference to certainversions, it should be appreciated that other versions, methods of use,embodiments, and combinations thereof are also possible. Therefore thespirit and scope of the appended claims should not be limited to thedescription of the embodiments contained herein.

The phrases “in some embodiments,” “according to some embodiments,” “inthe embodiments shown,” “in other embodiments,” “in some examples,” “insome cases,” “in some situations,” “in some configurations,” “in anotherconfiguration,” and the like, generally mean that the particularfeature, structure, or characteristic following the phrase is includedin at least one embodiment of the present invention and/or may beincluded in more than one embodiment of the present invention. Inaddition, such phrases do not necessarily refer to the same embodimentsor different embodiments.

The term “about” is used herein to refer to +/−10% of a givenmeasurement, range, or dimension unless otherwise indicated.

The invention claimed is:
 1. A musical system for the teaching andplaying of music, the musical system comprising: a first instrumentconfigured for being played by a first user, the instrument having:musical componentry that produces musical note sounds in response to anactivating event; a keyboard having a plurality of keys to produce theactivating event that in turn activates the musical componentry toproduce the musical note sounds; a communications module comprising atransmitter for communicating the musical note sounds to a remote servervia a network; and a housing, for encasing the musical componentry andthe keyboard having the plurality of keys, the housing having aplurality of indicator elements positioned adjacent the housing andproximate the keys of the keyboard for being activated to indicate whichkey of the keyboard is to be played at any given time when playing amusical composition; a display, communicably coupled to the firstinstrument, that displays a digital representation of tablaturecomprising a displayed note to be played prior to the activating event;an electronic controller, communicably coupled to the first instrumentand the display, and configured for corresponding the activation of theindicating element with the display of the musical note, and a remoteserver connected to the network and accessible through a cloud basedinterface, the server comprising a processor configured for receivingthe musical note sounds of the keyboard, and for evaluating accuraciesof the playing of the keyboard of the first user.
 2. The musical systemaccording to claim 1, wherein the communications module is configuredfor transmitting to the remote server one or more non-musical note soundcharacteristics resulting from playing of a musical composition on thefirst instrument by a first user.
 3. The musical system according toclaim 2, wherein the system further comprises a second instrument, thesecond instrument having: musical componentry that produces musical notesounds in response to an activating event; a keyboard having a pluralityof keys to produce the activating event that activates the musicalcomponentry so as to produce the musical note sounds; a communicationsmodule configured for transmitting to the remote server one or morecharacteristics resulting from playing of the musical composition on thesecond instrument by a second user; and a housing, for encasing theelectronic musical componentry, and including the keyboard having theplurality of keys, the housing having a plurality of indicator elementspositioned adjacent the housing and proximate the keys of the keyboardfor being activated and thereby indicating which key of the keyboard isto be played at any given time when playing a musical composition,wherein the processor of the remote server is further configured forreceiving the musical note sounds of the keyboard, and for evaluatingaccuracies of the playing of the keyboard of the second user, and forcomparing the evaluation of the first user with the evaluation of thesecond user.
 4. The musical system according to claim 3, wherein thedisplay is accessible by both the first and second instruments.
 5. Themusical system according to claim 4, wherein the system comprises adigital representation of a game environment comprising avatars of thefirst and second users, wherein the avatars interact in a manner that isbased on the accuracy of the playing of the first and second instrumentsby respective first and second users.